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STAN  D  A  R  D 
OPERAS 


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The  Standard  Operas 


By  GEORGE  P.   UPTON 

MUSICAL   HANDBOOKS 

THE   STANDARD   OPERAS 

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A.  C.  McCLURG   &   COMPANY     •     CHICAGO 


Lilli  Lehmann  as  Isolde 

Co fy right,  Aimi Dupont 


The  LStandard   Operas 

Their  Plots  and  Their  Music 
By  George  P.  Upton 

Author  of 

"  Standard  Handbooks  on  Music,"  "  Life  of  Theodore 
Thomas,"  etc.,  etc. 

New  Edition,  Enlarged  and  Revised 

Profusely  Illustrated 


Chicago 

A.  C.  McClurg  &  Co. 

1914 


Copyright 

By  Jansen,  McClurg  &  Co.,  1885 

By  a.  C.  McCluhg  &  Co.,  1896,  1906,  1912 

Entered  at  Stationers'  Hall,  London,  England 


All  rights  reserved 


THE   UNIVERSITY    PRESS,    CAMBRIDGE,    U.  S.  A 


TO  THE  MEMORY 

OF 

THEODORE   THOMAS 

MASTER    OF    MUSIC 


PREFACE 

THE  object  of  the  compiler  of  this  Handbook  is  to  present 
to  the  reader  a  brief  but  comprehensive  sketch  of  the 
operas  contained  in  the  modern  repertory.  To  this  end  he  has 
consulted  the  best  authorities,  adding  to  the  material  thus 
collected  his  own  observations,  and  in  each  case  has  presented 
the  story  of  the  opera,  the  general  character  of  its  music,  its 
prominent  scenes  and  numbers,  —  the  latter  in  the  text  most 
familiar  to  opera-goers,  —  the  date  of  first  performances,  with 
a  statement  of  the  original  cast  whenever  it  has  been  possible  to 
obtain  it,  and  such  historical  information  concerning  the  opera 
and  its  composition  as  will  be  of  interest  to  the  reader.  As 
many  new  operas  have  been  produced  since  "The  Standard 
Operas"  was  first  published  in  1885,  these  have  been  included 
in  the  new  edition,  although  it  is  as  yet  uncertain  whether  some 
of  them  will  become  "  standard  "  in  the  strict  sense  of  the  word. 
In  a  work  of  this  kind,  indeed,  the  selection  of  "  standard  " 
operas  must  be  somewhat  arbitrary.  It  is  difficult  to  say  where 
the  line  should  be  drawn.  The  writer's  aim  has  been  to  acquaint 
his  reader  with  the  prominent  operas  of  the  past  and  the  present, 
assuming  that  it  may  be  well  to  know  their  story  and  musical 
construction  whether  they  retain  their  places  upon  the  stage  or 
not.  In  preparing  the  present  edition  a  few  operas  have  been 
eliminated  entirely.  Some  which  appeared  in  the  first  edition 
have  been  retained  for  the  reason  that  they  were  considered 
masterpieces  in  their  time  and  may  be  of  reference  value  to  the 
reader.  The  work  has  been  prepared  for  the  general  public 
rather  than  for  musicians ;  and  with  this  purpose  in  view,  techni- 
calities have  been  avoided  as  far  as  possible,  the  aim  being  to 


viii  PREFACE 

give  musically  uneducated  lovers  of  opera  a  clear  understanding 
of  the  works  they  are  likely  to  hear,  and  thus  heighten  their 
enjoyment.  To  add  to  their  pleasure  and  recall  delightful 
memories,  the  new  edition  has  been  illustrated  generously  with 
portraits  of  leading  artists  in  their  favorite  roles.  In  a  word, 
the  operas  are  described  rather  than  criticised,  and  presented 
with  as  much  thoroughness  as  was  possible,  considering  the 
necessarily  brief  space  allotted  to  each.  In  the  preparation  of 
the  Handbook  the  compiler  acknowledges  his  indebtedness  to 
Grove's  "  Dictionary  of  Music,"  Baker's  "  Biographical  Dictionary 
of  Musicians,"  Champlin  and  Apthorp's  "Cyclopedia  of  Music 
and  Musicians,"  and  Ramann's  "  Opern  Handbuch "  for  dates 
and  other  statistical  information ;  and  he  has  also  made  free  use 
of  standard  musical  works  in  his  library  for  historical  events 
connected  with  the  performance  and  composition  of  the  operas. 
He  has  sought  to  obtain  accuracy  of  statement  by  verification 
after  consultations  of  the  best  authors,  and  to  make  "  Standard 
Operas"  a  popular  reference  for  opera-goers.  It  only  remains 
to  submit  this  work  to  them  with  the  hope  that  it  may  add  to 
their  enjoyment  and  prove  a  useful  addition  to  their  libraries. 

G.  P.  U. 

Chicago,  June,  1912. 


CONTENTS 


Adam  Page 

The  Postilion  of  Longjumeau 1 

Albert,  D' 

Tiefland 4 

AUBEH 

Fra  Diavolo 7 

Masaniello 10 

The  Crown  Diamonds 12 

AUBERT 

Le  For^t  Bleue 17 

Balfe 

The  Bohemian  Girl 20 

The  Rose  of  Castile 23 

Beethoven 

Fidelio 26 

Bellini 

Norma 30 

La  Sonnambula 32 

I  Puritani 34 

BiTTNER 

Der  Bergsee 37 

Bizet 

Carmen 38 

Blech 

Versiegelt 41 

BOIELDIEU 

La  Dame  Blanche 43 

BoiTO 

Mephistopheles 46 

Breton 

La  Dolores ,...,......,,,.,..       49 


X  CONTENTS 

Bhuneau  Page 

L  'Attaque  du  Moulin 51 

Catalani 

LaWally 54 

Charpentieb 

Louise 56 

Chekubint 

The  Water  Carrier 59 

Converse 

The  Pipe  of  Desire 61 

The  Sacrifice 62 

Debussy 

Pelleas  and  Melisande 64 

Saint  Sebastian 66 

Delibes 

Lakme 69 

Donizetti 

The  Daughter  of  the  Regiment 72 

La  Favorita 74 

Don  Pasquale 76 

Lucia  di  Lammermoor 78 

L'Elisir  d'Amore 80 

Lucrezia  Borgia 82 

Linda  de  Chamouni 85 

DUKAS 

Ariane  et  Barbe  Bleue 87 

Ferrari-Wolf 

Suzanne's  Secret 89 

Le  Donne  Curiose 90 

The  Jewels  of  the  Madonna 92 

Flotow 

Martha 96 

Stradella 99 

Franchetti 

Germania 101 

Gaune 

Hans,  the  Flute  Player 103 


CONTENTS  xi 

Giordano  page 

Andrea  Chenier 105 

Gluck 

Orpheus 107 

GOLDMARK 

The  Queen  of  Sheba 110 

The  Cricket  on  the  Hearth 112 

Gounod 

Faust 114 

Romeo  and  Juliet 117 

Halevt 

The  Jewess 119 

Herbert 

Natoma 122 

Herold 

Zampa 125 

Humperdinck 

Hansel  and  Gretel 128 

Die  Kbnigskinder 131 

Lecocq 

Girofle-Girofla 134 

La  Fille  de  Madame  Angot 136 

Leoncavallo 

I  Pagliacci 139 

LSrtzing 

Czar  and  Carpenter 142 

Marschner 

Hans  Heiling 144 

Mascagni 

Cavalleria  Rusticana 147 

Iris 149 

Massenet 

Le  Roi  de  Lahore 151 

Le  Cid 153 

Manon 155 

Esclarmonde 157 

Griselidis 159 


xii  CONTENTS 

Massenet  page 

Herodiade 161 

Werther 163 

Cendrillon 165 

Thais 166 

Le  Jongleur  de  Notre  Dame 167 

Don  Quixote 169 

Meyerbeer 

The  Huguenots 171 

The  Star  of  the  North 175 

Robert  the  Devil 178 

Dinorah 181 

The  Prophet 184 

L'Africaine 187 

Mozart 

The  Marriage  of  Figaro 191 

Don  Giovanni 195 

The  Magic  Flute 199 

Nessler 

The  Trumpeter  of  Sakkingen 204 

NiCOtAI 

The  Merry  Wives  of  Windsor 207 

Notjges 

Quo  Vadis 209 

Offenbach 

The  Grand  Duchess  of  Gerolstein 212 

La  Belle  Helene 214 

Orphee  aux  Enfers 216 

Les  Contes  de  Hoffmann 218 

Paderewski 

Manru 220 

Parker 

Mona 223 

Ponchielli 

La  Gioconda 226 

Puccini 

La  Boheme 230 

La  Tosca »   .   .   .    .  232 


CONTENTS  xiii 

Puccini  page 

Madame  Butterfly 234 

Manon  Lescaut 235 

Le  Villi 237 

The  Girl  of  the  Golden  West 238 

Reyek 

Sigurd 242 

Rossini 

The  Barber  of  Seville 245 

Semiramide 248 

William  Tell 251 

Rubinstein 

Nero 254 

Saint-SaEns 

Samson  and  Delila 257 

Henry  VIII 259 

Proserpine 262 

Smetana 

The  Bartered  Bride 265 

Strauss  (Johann) 

The  Merry  War 267 

The  Bat 268 

The  Queen's  Lace  Handkerchief 269 

The  Gypsy  Baron      271 

Strauss  (Richard) 

Feuersnot 272 

Salome 274 

Elektra 277 

Der  Rosenkavalier 278 

Sullivan 

H.  M.  S.  Pinafore 281 

The  Pirates  of  Penzance 283 

Patience 285 

lolanthe 288 

Prmcess  Ida 290 

The  Mikado 292 


xiv  CONTENTS 

Thomas  page 

Mignon 295 

Hamlet 298 

Thuille 

Lobetanz 301 

Tchaikovsky 

Eugen  Onegin 303 

Dame  de  Pique 304 

Verdi 

Ernani      307 

Rigoletto      310 

La  Traviata 313 

II  Trovatore 316 

The  Masked  Ball 319 

Aida 322 

Othello 325 

Falstaff 328 

Wagner 

Rienzi 332 

The  Flying  Dutchman 337 

Tarmhauser 340 

Lohengrin 344 

Tristan  and  Isolde 348 

The  Mastersingers 351 

The  Ring  of  the  Nibelung 355 

'Das  Rheingold 362 

Die  Walkure 365 

Siegfried 369 

Die  Gotterdammerung 373 

Parsifal 376 

Wallace 

Maritana 383 

Weber 

Der  Freischiitz 388 

Oberon 393 

Euryanthe 397 


LIST   OF   PORTRAITS 

LILLI   LEHMANN  as  Isolde,  in  Tristan  and  Isolde    ....  Frontispiece 

ADAM  Page 

The  Postilion  op  Longjumeau:  Theodore  Wachtel,  creator  of 

the  title  role 2 

AUBER 

Fra  Diavolo  :  Charles  Santley  as  Fra  Diavolo 8 

BELLINI 

Norma:  Giuditta  Grisi  as  Norma 30 

BIZET 

Carmen:  Emma  Calve  as  Carmen 38 

M.  Jom-net  as  Escamillo 40 

Enrico  Caruso  as  Don  Jose 40 

BOITO 

Mephistopheles:  Marie  Roze  as  Helen 48 

CHARPENTIER 

Louise:  Mary  Garden  as  Louise 56 

DEBUSSY 

Pelleas  and  Meusande  :  Lilian  Grenville  as  Melisande    ....     64 

DONIZETTI 

The  Daughter  of  the  Regiment:  Jenny  Lind  as  Marie  ...  72 

Lucia  di  Lammermoor:  Albert  Saleza  as  Edgardo 80 

L'Elisir  d'Amore:  Marcella  Sembrich  as  Adina 82 

FERRARI-WOLF 

Suzanne's  Secret  :  Caroline  White  as  Countess  Gil 90 

The  Jewels  of  the  Madonna:  Amadeo  Bassi  as  Genarro    .    .  92 

Mario  Sammarco  as  Rafaele    .  94 

FLOTOW 

Martha:  Marcella  Sembrich  as  Martha 96 

GLUCK 

Orpheus:  Sophia  Scalchi  as  Orpheus 108 


/ 


xvi  LIST  OF  PORTRAITS 

GOUNOD  PAGE 

Faust:  Nellie  Melba  as  Marguerite 114 

Albert  Saleza  as  Faust 116 

Pol  Plangon  as  Mephistopheles 116 

KoMEO  AND  Juliet:  Geraldine  Farrar  as  Juliet 118 

HALEVY 

The  Jewess:  Marie  Falcon  as  Rachel 120 

HUMPERDINCK 

Hansel  and  Geetel:  Marie  Cavan  as  Hansel 128 

Bella  Alten  as  Gretel 130 

LECOCQ 

Le  Fille  de  Madame  Angot:  Emily  Soldene  as  Mademoiselle 

Lange 136 

LEONCAVALLO 

I  Pagliacci:  Fritzi  SchefiF  as  Nedda 138 

Alvarez  as  Canio 138 

Alice  Zeppelin  as  Nedda 140 

MASCAGNI 

Cavalleria  Rusticana:  Emma  Calve  as  Santuzza 148 

MASSENET 

Le  Cid:  Lucienne  Breval  as  Chimene 154 

Cendrillon:  Maggie  Teyte  as  Cinderella 164 

ThaIs:  Gustave  Huberdeau  as  Palemon 166 

MEYERBEER 

The  Huguenots:  Christine  Nilsson  as  Valentin 172 

Jean  de  Reszke  as  Raoul 174 

Pol  Plangon  as  St.  Bris 174 

The  Prophet:  Ernestine  Schumann-Heink  as  Fides 184 

M.  Alvarez  as  the  Prophet 184 

L'Africaine:  Andreas  Dippel  as  Vasco  di  Gama 188 

MOZART 

The  Marriage  of  Figaro:  Sigrid  Amoldson  as  Cherubino     .    .  192 

Don  Giovanni:  Henriette  Sontag  as  Donna  Anna 196 

Edouard  de  Reszke  as  Leporello 198 

Antonio  Scotti  as  Don  Giovanni 198 

The  Magic  Flute:  Joanna  Gadski  as  Pamina 200 

Andreas  Dippel  as  Tamino 200 


LIST  OF  PORTRAITS  xvii 

OFFENBACH  page 

The  Gb-^-nd  Duchess  op  Gerolstein:   Hortense  Schneider  as 

the  Grand  Duchess 212 

PADEREWSKI 

Manru:  Marcella  Sembrich  as  Ulana 220 

David  Bispham  as  Urok 220 

Joseph  Bandrowsky  as  Manru 220 

PARKER 

Portrait  of  Composer  of  "  Mona  " 222 

PONCHIEIXI 

La  Gioconda:  Louise  Homer  as  Gioconda 226 

Enrico  Caruso  as  Enzo 226 

PUCCINI 

La  BoHtME:  Albert  Saleza  as  Rodolfo 230 

Group  of  Rodolfo,  CoUine,  Marcel,  and  Schaunard  230 

La  Tosca:  Antonio  Scotti  as  Scarpia 232 

The  Girl  of  the  Golden  West:  Caroline  White  as  the  Girl  .  238 

ROSSINI 

The  Barber  of  Seville:  Guiseppe  Carapanari  as  Figaro  .    .    .  246 

Marcella  Sembrich  as  Rosina  ....  216 

Semiramide:  Group  of  Semiramide,  Arsaces,  and  Assur  ....  248 

saint-saEns 

Samson  and  Delila:  Charles  Dalmores  as  Samson 256 

Mile.  Gerville-Reache  as  Delila 258 

Francesco  Tamagno  as  Samson 260 

STRAUSS,  J. 

The  Bat:  Marcella  Sembrich  as  Rosalind 268 

STRAUSS.  R. 

Salome:  Mary  Garden  as  Salome 276 

THOMAS 

Mignon:  Helene  Ambre  as  Mignon 298 

Hamlet:  Emma  Calve  as  Ophelia 298 

VERDI 

Ernani:  Marcella  Sembrich  as  Elvira 308 

Rigoletto:  Louise  Homer  as  Gilda 310 

Enrico  Caruso  as  The  Duke 310 

La  Traviata:  Geraldine  Farrar  as  Violetta 314 


xviii  LIST  OF  PORTRAITS 

VERDI  PAGE 

II,  Trovatore:  Italo  Campanini  as  Manrico 318 

The  Masked  Ball:  Emma  Eames  as  Amelia 320 

AIda:  Joanna  Gadski  as  Aida 322 

Marie  Brema  as  Amneris 324 

Othello:  Francesco  Tamagno  as  Othello 326 

WAGNER 

The  Flying  Dutchman:  Fraulein  Hiedler  as  Senta 338 

Herr  Muhlmann  as  the  Dutchman  .    .  338 

TANjnHAUSER:  Charles  Adams  as  Tannhauser 340 

Milka  Ternina  as  Elizabeth 340 

Lohengrin:  Ernestine  Schumann-Heink  as  Ortrud 344 

Ernest  Krauss  as  Lohengrin 346 

Emma  Eames  as  Elsa 346 

Tristan  and  Isolde:  Lilli  Lehmann  as  Isolde Frontispiece 

David  Bispham  as  Kurwenal 348 

Jean  de  Reszke  as  Tristan 348 

Edouard  de  Reszke  as  King  Mark    .    .    .  348 

The  Mastersingers:  David  Bispham  as  Beckmesser 352 

Anton  Van  Rooy  as  Hans  Sachs   ....  352 

Hermann  Winckelmann  as  Walter    .    .    .  354 

Das  Rheingold:  Portrait  of  Mme.  Materna 360 

Louise  Homer  as  Erda 362 

Die  Walkure:    Olive  Fremstad  as  Sieglinde 364 

Herr  Burgstaller  as  Siegmund 364 

Lillian  Nordica  as  Briinnhilde 366 

Joanna  Gadski  as  Briinnhilde 366 

Anton  Van  Rooy  as  Wotan 368 

Siegfried:  Max  Alvary  as  Siegfried 370 

Herr  Reiss  as  Mime 372 

David  Bispham  as  Alberich 372 

Die  Gotterdammerttng  :  Jean  de  Reszke  as  Siegfried 374 

Parsifal:  Andreas  Dippel  as  Parsifal  (first  act) 376 

Andreas  Dippel  as  Parsifal  (third  act) 376 

M.  Perron  as  Amfortas 378 

Herr  Goritz  as  Klingsor 378 

Olive  Fremstad  as  Kundry 380 


THE 

STANDARD    OPERAS 

THEIR  PLOTS  AND  THEIR  MUSIC 


ADAM    (CHARLES    ADOLPHE) 

The  Postilion  of  Longjumeau 

THE  Postilion  of  Longjumeau,"  opera  comique,  in  three 
acts,  text  by  De  Leuven  and  Brunswick,  was  first 
produced  at  the  Opera  Comique,  Paris,  October  13,  1836. 
This  sprightly  opera  is  characterized  by  grace  and  elegance 
of  treatment,  fascinating  rhythm,  and  odd  contrasts  in  effects. 
Its  plot  is  very  dramatic,  and  aifords  ample  scope  for  humor- 
ous action.  The  opening  scene  of  the  first  act,  which  is  laid 
in  Longjumeau,  a  French  village,  time  of  Louis  the  Fifteenth, 
introduces  us  to  the  wedding  of  Chapelou,  the  postilion,  and 
Madeleine,  mistress  of  the  inn.  During  the  merriment  which 
follows,  the  Marquis  de  Courcy,  superintendent  of  the  Paris 
Grand  Opera,  whose  carriage  has  broken  down,  makes  his 
appearance,  seeking  aid  of  a  wheelwright.  He  hears  Chapelou 
singing,  and  is  so  pleased  with  his  voice  that  he  offers  him  a 
position  in  the  opera.  Chapelou,  after  some  persuasion,  ac- 
cepts, entreats  Bijou,  the  village  blacksmith,  to  look  after 
Madeleine,  and  goes  off  with  the  Marquis  in  quest  of  artistic 
glory.  Bijou  informs  Madeleine  of  Chapelou's  baseness,  and 
the  act  closes  with  her  denunciations  of  him,  in  which  she 
is  enthusiastically  assisted  by  the  female  members  of  the 
wedding-party. 

The  second  act  opens  in  Paris.     Madeleine  has  inherited  a 
fortune  from  an  aunt,  and  makes  her  appearance  in  the  gay 


2  THE    STANDARD    OPERAS 

city  as  a  rich  and  noble  lady,  under  the  assumed  name  of 
IMadame  de  la  Tour.  The  Marquis  de  Courcy,  who  is  in  love 
with  her,  at  her  request  brings  Chapelou,  "w^ho  is  now  a  famous 
tenor  known  as  St.  Phar,  Bijou,  the  Longjumeau  blacksmith, 
who  is  primo  basso  under  the  name  of  Alcindor,  and  the 
operatic  chorus  to  her  chateau  for  a  rehearsal.  St.  Phar, 
not  wishing  to  sing,  pleads  a  cold,  but  when  he  learns  that  he 
is  in  the  apartments  of  Madame  de  la  Tour  he  consents,  and 
the  rehearsal  goes  off  finely.  Left  alone  with  his  hostess,  he 
proposes  to  her  and  is  accepted,  but  as  he  is  already  married 
he  arranges  that  Boudon,  the  chorus  leader,  shall  play  the 
part  of  priest.  The  Marquis,  who  overhears  the  conspiracy, 
informs  Madame  de  la  Tour,  who  sends  for  a  real  priest  and 
accompanies  St.  Phar  to  the  altar,  where  they  are  married 
for  the  second  time. 

In  the  third  act,  St.  Phar,  who  fears  that  he  will  be  hanged 
for  committing  bigamy,  finds  a  happy  escape  from  his  troubles. 
The  Marquis,  furious  because  he  has  been  rejected  by  Madame 
de  la  Tour  in  favor  of  an  opera  singer,  seeks  revenge,  but  his 
plans  are  thwarted.  A  humorous  scene  ensues,  in  which  St. 
Phar  is  tormented  by  Alcindor  and  the  wedding-party,  as  well 
as  by  the  Marquis,  who  is  now  reconciled.  Finally,  upon  being 
left  alone  in  a  darkened  room  with  Madame  de  la  Tour,  she 
also  aggravates  him  by  personating  two  characters,  singing 
from  different  sides  of  the  apartment  in  the  voice  of  the 
Madame  and  that  of  Madeleine.  The  denouement  ensues 
when  she  appears  to  him  as  the  veritable  Madeleine  of  Long- 
jumeau, whither  the  joyous  pair  return  and  are  happy  ever 
after. 

The  principal  music  of  the  first  act  is  a  romanza  for  soprano, 
"  Husband  ever  dear,"  leading  into  a  dance  chorus ;  the 
spirited  Postilion's  Song  with  whip-snapping  accompani- 
ment; and  a  balcony  serenade  by  Madeleine.  The  second  act 
opens  with  a  long  and  well-written  aria  for  soprano,  which  is 
followed  by  the  rehearsal  scene  —  a  clever  bit  of  humorous 
musical  writing.  In  the  course  of  this  scene  the  tenor  has  a 
characteristic  aria,  preceded  by  a  clarinet  obligato,  and  the 
basso  also  has  one  running  down  to  G,  in  which  he  describes 


Hen-  Wachtel 

Famous  as  the  creator  of  The  Postilion  of  Longjumeau 


ADAM  3 

with  much  gusto  the  immunities  of  a  basso  with  a  "  double  G." 
A  duet  follows  for  soj^rano  and  tenor  with  a  cadenza  of  ex- 
traordinary length,  the  act  closing  with  a  finale  in  the  con- 
ventional Italiaji  style. 

The  third  act  opens  with  a  long  clarinet  solo,  the  refrain 
of  which  is  heard  in  the  close  of  the  act.  This  is  followed  by 
a  "  Good  Night  "  chorus  in  mazurka  time.  The  tenor  has  an 
aria  followed  by  a  comic  trio,  which  in  reality  is  a  duet,  as 
the  soprano  is  personating  two  singers  with  different  voices. 
A  duet  and  finale  close  the  opera.  The  success  of  the  "  Pos- 
tilion of  Longjumeau  "  w^hen  it  was  first  produced  in  the 
United  States  was  largely  due  to  Wachtel's  remarkable  dra- 
matic as  well  as  vocal  presentation  of  the  role  of  Chapelou. 


ALBERT,  D'  (EUGENE  FRANCIS 
CHARLES) 

Tiefland 

TIEFLAND  "  is  a  musical  setting  of  a  well-known  and 
popular  Spanish  drama^  originally  written  in  Catalonian 
by  Angel  Guimera,  and  called  "  Tevva  Baixa."  The  Spanish 
dramatist,  Jose  Echegaray,  next  produced  a  version  of  it, 
called  "  Tierra  Baja."  An  English  version  has  been  made 
familiar  to  American  audiences  by  the  actress,  Bertha  Kalich, 
as  "  Marta  of  the  Lowlands."  The  libretto  of  "  Tiefland  "  was 
adapted  from  the  Catalonian  version  by  Rudolph  Lothar. 

The  opera  was  first  produced  in  Prague  in  1903,  but  without 
marked  success.  It  was  then  revised  by  D'Albert  and  brought 
out  in  Hamburg  in  1907,  also  in  Berlin,  and  had  a  long  run  in 
both  cities.  Its  first  performance  in  this  country  took  place 
in  New  York,  November  23,  1908. 

The  opera  is  divided  into  a  prologue  and  three  acts.  The 
prologue  opens  among  the  Pyrenees  Mountains  and  discloses 
the  shepherd  Pedro  tending  his  flocks.  He  lives  in  solitude  but 
has  dreamed  that  the  Lord  will  sometime  send  him  a  wife. 
The  rich  landowner  Sebastiano  appears  and  informs  Pedro 
that  he  has  brought  the  young  girl  Marta  to  him  for  his  wife, 
and  that  he  must  leave  the  mountains  and  go  down  to  the  Low- 
lands for  his  wedding.  Pedro,  thinking  his  dream  is  realized, 
is  overjoyed  at  the  prospect,  although  Marta  is  vmwilling  and 
will  not  even  look  at  Pedro.  Behind  Sebastiano's  apparently 
generous  proposal,  however,  is  a  dark  plot.  Years  before  this, 
Marta,  the  daughter  of  a  strolling  player,  had  come  to  the 
Lowlands  where  Sebastiano  dwelt  and  had  been  induced  to  live 
with  him  as  his  mistress  in  consideration  of  his  gift  of  a  mill 


D'ALBERT  6 

to  her  father.  As  Sebastiano  is  now  about  to  wed  an  heiress, 
he  has  plotted  to  marry  Marta  to  Pedro,  and  at  the  same  time 
continue  his  illicit  relations  with  her. 

The  first  act  is  devoted  to  Pedro's  arrival  at  the  Lowland 
village,  where  his  marriage  is  to  take  place  at  the  mill.  At 
first  he  is  unable  to  understand  why  the  villagers,  who  are 
aware  of  Marta's  relations  to  Sebastiano,  make  sport  of  him. 
After  the  wedding,  Marta,  wishing  to  avoid  Sebastiano,  does 
not  go  to  her  chamber  nor  accompany  Pedro,  all  of  which 
mystifies  him  still  more. 

In  the  second  act  Marta  begins  to  love  her  husband,  but 
Pedro's  persecutions  continue  and  at  last  he  tells  her  he  is 
going  back  to  the  hills.  She  begs  to  go  with  him  and  tells  him 
her  story,  whereupon  he  advances  with  his  knife  as  if  to  kill 
her,  but  his  love  is  stronger  than  his  rage  and  they  decide  to 
go  together.  At  this  moment  Sebastiano  enters,  ejects  Pedro, 
and  makes  advances  to  Marta. 

In  the  last  act  the  heiress  whom  Sebastiano  expects  to 
marry  rejects  him  and  he  renews  his  advances  to  Marta,  who 
calls  to  Pedro  for  help.  He  rushes  in  with  his  knife,  but, 
seeing  that  Sebastiano  is  unarmed,  throws  it  down  and 
strangles  him.  Catching  Marta  in  his  arms,  he  rushes  out  with 
the  passionate  exclamation,  "  Back  to  the  mountains,  far  from 
the  lowlands,  to  sunshine,  freedom,  and  light." 

It  will  be  seen  from  this  brief  sketch  that  the  plot  is  of  the 
simplest  kind  and  the  story  merely  one  of  elemental  human 
passion,  ending  in  the  inevitable  tragedy.  It  is  of  the  same 
type  as  the  subjects  chosen  by  the  writers  of  many  modern 
Italian  operas,  for  instance  Mascagni  in  "  Cavalleria  Rusti- 
cana  "  and  "  Iris,"  Puccini  in  "  Tosca,"  and  Leoncavallo  in 
"  Pagliacci";  in  a  word,  it  is  the  jealousy  and  sudden  pas- 
sionate fury  of  the  South,  but  set  forth  in  this  opera  in  the 
regular  and  symphonic  Teutonic  manner,  so  that  its  outcome 
is  somewhat  incongruous.  It  resembles  these  modern  Italian 
music-dramas,  however,  in  that  it  contains  no  formal  numbers 
or  sustained  melodies.  The  composer  has  sought  to  make  his 
music  grow  out  of  the  dramatic  situation,  w.ith  the  result  that 
it  is  declamatory  rather  than  lyrical,  and  yet  there  are  strong 


6  THE    STANDARD    OPERAS 

and  beautiful  moments,  such  as  Pedro's  recital  of  the  vision 
of  the  Virgin;  the  shepherd's  description  of  his  killing  of  the 
wolf;  and  Marta's  story  as  she  sits  by  the  fire;  as  well  as  the 
passionate  climax,  when  after  the  tragedy  they  leave  Tiefland 
and  go  back  to  the  mountains.  But  upon  the  whole,  like 
"  Pagliacci  "  and  "  Cavalleria  Rusticana,"  the  interest  of  this 
opera  is  dramatic  rather  than  musical.  The  "  Marta  of  the 
Lowlands,"  as  presented  by  Kalich,  however,  is  much  stronger 
dramatically  than  the  "  Tiefland  "  of  D 'Albert. 


AUBER   (DANIEL  FRANCOIS  ESPRIT) 

Fra  Diavolo 

FRA  DIAVOLO,"  opera  comique,  in  three  acts,  words  by 
Scribe,  was  first  produced  at  the  Opera  Comique, 
Paris,  January  28,  1830;  in  English,  at  Drury  Lane,  Lon- 
don, November  S,  1831;  in  Italian,  at  the  Lyceum,  London, 
July  9,  1857,  for  which  occasion  the  spoken  dialogue  was 
converted  into  accompanied  recitative.  The  composer  him- 
self also,  in  fitting  it  for  the  Italian  stage,  made  some  changes 
in  the  concerted  music  and  added  several  morceaux.  The 
original  Italian  cast  was  as   follows: 

Zerlina Mme.  Bosio. 

Lady  Allcash Mile.  Makaj-  ' 

Fra  Diavolo Sig.  Gardoni. 

Lord  Allcash Sig.  Ronconi. 

Beppo Sig.  Tagliafico. 

Giacomo Sig.  Zelgeb. 

The  original  of  the  story  of  "  Fra  Diavolo  "  is  to  be  found 
in  Lesueur's  opera,  "  La  Caverne,"  afterwards  arranged  as 
a  spectacular  piece  and  produced  in  Paris  in  1808  by  Cuvel- 
lier  and  Franconi,  and  again  in  Vienna  in  1822  as  a  spectacle- 
pantomime,  under  the  title  of  "  The  Robber  of  the  Abruzzi." 
In  Scribe's  adaptation  the  bandit,  Fra  Diavolo,  encounters 
an  English  nobleman  and  his  pretty  and  susceptible  wife. 
Lord  and  Lady  Allcash,  at  the  inn  of  Terracina,  kept  by 
Matteo,  whose  daughter  Zerlina  is  loved  by  Lorenzo,  a  young 
soldier,  on  the  eve  of  starting  to  capture  Fra  Diavolo  when 
the  action  of  the  opera  begins.  In  the  first  scene  the  English 
couple  enter  in  great  alarm,  having  narrowly  escaped  the 
robbery  of  all  their  valuables  by  Fra  Diavolo's  band.     The 


8  THE    STANDARD    OPERAS 

bandit  himself,  who  has  followed  them  on  their  journey  in  the 
disguise  of  a  marquis,  and  has  been  particularly  attentive  to 
the  lady,  enters  the  inn  just  as  Lord  Allcash  has  been  reprov- 
ing his  wife  for  her  familiarity  with  a  stranger.  A  quarrel 
ensues  in  a  duet  of  a  very  humorous  character  ("I  don't 
object").  Upon  the  entrance  of  Fra  Diavolo,  a  quintet 
("Oh,  Rapture  ujibounded!  ")  occurs,  which  is  one  of  the 
most  effective  and  admirably  harmonized  ensembles  Auber  has 
ever  written.  Fra  Diavolo  learns  the  trick  by  which  they 
saved  the  most  of  their  valuables,  and,  enraged  at  the  failure 
of  his  band,  lays  his  own  plan  to  secure  them.  In  an  inter- 
view with  Zerlina,  she,  mistaking  him  for  the  Marquis,  tells 
him  the  story  of  Fra  Diavolo  in  a  romanza  ("  On  yonder 
Rock  reclining  "),  which  is  so  fresh,  vigorous,  and  full  of 
color,  that  it  has  become  a  favorite  the  world  over.  To 
further  his  schemes,  Fra  Diavolo  makes  love  to  Lady  Allcash 
and  sings  a  graceful  barcarole  to  her  ("  The  Gondolier,  fond 
Passion's  Slave  "),  accompanying  himself  on  the  mandolin. 
Lord  Allcash  interrupts  the  song,  and  the  trio,  "  Bravi, 
Bravi,"  occurs,  which  leads  up  to  the  finale  of  the  act.  Fra 
Diavolo  eludes  the  carbineers,  who  have  returned,  and  they 
resume  their  search  for  him,  leaving  him  unmolested  to  per- 
fect his  plans  for  the  robbery. 

The  second  act  introduces  Zerlina  in  her  chamber  about  to 
retire.  She  first  lights  Lord  and  Lady  Allcash  to  their  room, 
a  running  conversation  occurring  between  them  in  a  trio 
("  Let  us,  I  pray,  good  Wife,  to  rest  "),  which  is  one  of 
the  best  numbers  in  the  work.  Before  Zerlina  returns  to  her 
chamber,  Fra  Diavolo  and  his  companions,  Beppo  and  Gia- 
como,  conceal  themselves  in  a  closet,  and,  somewhat  in  viola- 
tion of  dramatic  consistency,  Fra  Diavolo  sings  the  beautiful 
serenade,  "  Young  Agnes,"  which  had  been  agreed  upon  as  a 
signal  to  his  comrades  that  the  coast  was  clear,  Zerlina 
enters  and  after  a  pretty  cavatina  ("  'T  is  To-morrow  ")  and 
a  prayer,  charming  for  its  simplicity  ("  Oh,  Holy  Virgin  "), 
retires  to  rest.  The  robbers,  in  attempting  to  cross  her  room, 
partially  arouse  her.  One  of  them  rushes  to  the  bed  to  stab 
her,  but  falls  back  awestricken  as  she  murmurs  her  prayer 


--.<«» 
'^.. 


V 


^^$^-11^ 


0 


Santley  as  J-'ra  Diavolo 


AUBER  9 

and  sinks  to  rest  again.  The  trio  which  marks  tliis  scene, 
sung  pianissimo^  is  quaint  and  simple  and  yet  very  dramatic. 
The  noise  of  the  carbineers  returning  outside  interrupts  the 
plan  of  the  robbers.  They  conceal  themselves  in  the  closet 
again.  Zerlina  rises  and  dresses  herself.  Lord  and  Lady 
Allcash  rush  in  en  deshabille  to  find  out  the  cause  of  the 
uproar.  Lorenzo  enters  to  greet  Zerlina,  when  a  sudden 
noise  in  the  closet  disturbs  tlie  company.  Fra  Diavolo,  know- 
ing he  will  be  detected,  boldly  steps  out  into  the  room  and 
declares  that  he  is  there  to  keep  an  appointment  with  Zer- 
lina. Lorenzo  challenges  him,  and  he  promises  to  give  him 
satisfaction  in  the  morning,  and  coolly  effects  his  escape. 
One  of  his  comrades,  however,  is  captured,  and  to  secure  his 
own  liberty  agrees  to  betray  his  chief. 

The  third  act  introduces  Fra  Diavolo  once  more  among 
his  native  mountains,  and  there  is  the  real  breath  and  vigor 
of  the  mountain  air  in  his  opening  song  ("  Proudly  and  wide 
my  Standard  flies  "),  and  rollicking  freedom  in  the  rondeau 
which  follows  it  ("  Then  since  Life  glides  so  fast  away  "). 
He  exults  in  his  liberty,  and  gleefully  looks  forward  to  a 
meeting  with  Lord  and  Lady  Allcash,  which  he  anticipates 
will  redound  to  his  personal  profit.  His  exultation  is  inter- 
rupted by  the  entrance  of  the  villagers  arrayed  in  festival 
attire  in  honor  of  the  approaching  wedding  ceremonies,  sing- 
ing a  bright  pastoral  chorus  ("Oh,  Holy  Virgin!  bright  and 
fair").  The  finale  of  the  act  is  occupied  with  the  develop- 
ment of  the  scheme  between  Lorenzo,  Beppo,  and  Giacomo, 
to  ensnare  Fra  Diavolo  and  compass  his  death;  and  with  the 
final  tragedy,  in  which  Fra  Diavolo  meets  his  doom  at  the 
hands  of  the  carbineers,  but  not  before  he  has  declared  Zer- 
lina's  innocence.  This  finale  is  strong  and  very  dramatic,  and 
yet  at  the  same  time  simple,  natural,  and  unstudied.  The 
opera  itself  has  always  been  a  favorite,  not  alone  for  its 
naturalness  and  quiet  grace,  but  for  the  bright  and  even 
boisterous  humor,  which  is  displayed  by  the  typical  English 
tourist,  who  was  for  the  first  time  introduced  in  opera  by 
Scribe.  The  text  is  full  of  spirit  and  gayety,  and  these  quali- 
ties are  admirably  reflected  in  the  sparkling  music  of  Auber. 


10  THE    STANDARD    OPERAS 

How  well  it  was  adapted  for  musical  treatment  is  shown  by 
the  fact  that  "  Fra  Diavolo  "  made  Auber's  reputation  at  the 
Opera  Comique. 

Masaniello 

"  Masaniello/'  or  "  La  Muette  de  Portici/'  lyric  opera 
in  five  acts,  words  by  Scribe  and  Delavigne,  was  first  pro- 
duced at  Paris,  February  29,  1828;  in  English,  at  London, 
May  4,  1829;  and  in  Italian,  at  London,  March  15,  1849. 
The  original  cast  included  Mme.  Damoreau-Cinti  as  Elvira, 
Mile.  Noblet  as  Fenella,  and  M.  Massol  as  Pietro.  In  the 
Italian  version,  Sig.  Mario,  Mme.  Dorus-Gras,  and  Mile. 
Leroux,  a  famous  mime  and  dancer,  took  the  principal  parts ; 
while  in  its  English  dress,  Braham  created  one  of  the  great- 
est successes  on  record,  and  established  it  as  the  favorite 
opera  of  Auber  among  Englishmen. 

The  scene  of  the  opera  is  laid  near  Naples.  The  first  act 
opens  upon  the  festivities  attending  the  nuptials  of  Alphonso, 
son  of  the  Duke  of  Arcos,  and  the  Princess  Elvira.  After  a 
chorus  of  rejoicing,  the  latter  enters  and  sings  a  brilliant 
cavatina  ("  O,  bel  Momento  ")  expressive  of  her  happiness. 
In  the  fourth  scene  the  festivities  are  interrupted  by  the 
appearance  of  Fenella,  the  dumb  girl,  who  implores  the 
princess  to  save  her  from  Selva,  one  of  the  Duke's  officers, 
who  is  seeking  to  return  her  to  prison,  from  which  she  has 
escaped,  and  where  she  has  been  confined  at  the  orders  of 
some  unknown  cavalier  who  has  been  persecuting  her.  The 
part  of  Fenella  is  of  course  expressed  by  pantomime  through- 
out. The  remainder  of  the  act  is  intensely  dramatic.  Elvira 
promises  to  protect  Fenella,  and  then,  after  some  spirited 
choruses  by  the  soldiers,  enters  the  chapel  with  Alphonso. 
During  the  ceremony  Fenella  discovers  that  he  is  her  be- 
trayer. She  attempts  to  go  in,  but  is  prevented  by  the  sol- 
diers. On  the  return  of  the  newly  wedded  pair  Fenella  meets 
Elvira  and  denounces  her  husband,  and  the  scene  ends  with 
a  genuine  Italian  finale  of  excitement. 

The  second  act  opens  on  the  seashore,  and  shows  the  fisher- 


AUBER  11 

men  busy  with  their  nets  and  boats.  Masaniello,  brother  of 
Fenella,  enters,  brooding  upon  the  wrongs  of  the  people,  and 
is  implored  by  the  fishermen  to  cheer  them  with  a  song.  He 
replies  with  the  barcarole,  "  Piu  bello  sorse  il  giorno."  His 
friend  Pietro  enters  and  they  join  in  a  duet  ("  Sara  il  morir  ") 
of  a  most  vigorous  and  impassioned  character,  expressive  of 
Masaniello's  grief  for  his  sister  and  their  mutual  resolution 
to  strike  a  blow  for  freedom.  At  the  conclusion  of  the  duet 
he  finds  Fenella  preparing  to  throw  herself  into  the  sea.  He 
calls  to  her  and  she  rushes  into  his  arms  and  describes  to  him 
the  story  of  her  wrongs.  He  vows  revenge,  and  in  a  martial 
finale,  which  must  have  been  inspired  by  the  revolutionary 
feeling  with  which  the  whole  atmosphere  was  charged  at  the 
time  Auber  wrote  (1828),  incites  the  fishermen  and  people 
to  rise  in  revolt  against  their  tyrannical  oppressors. 

In  the  third  act,  after  a  passionate  aria  ("  II  pianto 
rasciuga  ")  by  Elvira,  we  are  introduced  to  the  market-place, 
crowded  with  market-girls  and  fishermen  disposing  of  their 
fruits  and  fish.  After  a  lively  chorus,  a  fascinating  and 
genuine  Neapolitan  tarantella  is  danced.  The  merry  scene 
speedily  changes  to  one  of  turmoil  and  distress.  Selva  at- 
tempts to  arrest  Fenella,  but  the  fishermen  rescue  her  and 
Masaniello  gives  the  signal  for  the  general  uprising.  Before 
the  combat  begins,  all  kneel  and  sing  the  celebrated  prayer, 
"  Nume  del  Ciel,"  taken  from  one  of  Auber's  early  masses, 
and  one  of  his  most  inspired  efforts. 

The  fourth  act  opens  in  Masaniello's  cottage.  He  de- 
plores the  coming  horrors  of  the  day  in  a  grand  aria  ("  Die! 
di  me  disponesti ")  which  is  very  dramatic  in  its  quality. 
Fenella  enters,  and  after  describing  the  tumult  in  the  city 
sinks  exhausted  with  fatigue.  As  she  falls  asleep  he  sings 
a  slumber  song  ("  Scendi,  O  sonno  dal  ciel  "),  a  most  ex- 
quisite melody,  universally  known  as  "  LAir  du  Sommeil." 
At  its  close  Pietro  enters  and  once  more  rouses  Masaniello  to 
revenge  by  informing  him  that  Alphonso  has  escaped.  After 
they  leave  the  cottage,  the  latter  and  Elvira  enter  and  implore 
protection.  Fenella  is  moved  to  mercy,  and  a  concerted 
number  follows  in  which  Masaniello  promises  safety  and  is 


12  THE    STANDARD    OPERAS 

denounced  by  Pietro  for  his  weakness.  In  the  finale^  the 
magistrates  and  citizens  enter,  bearing  the  keys  of  the  town 
and  the  royal  insignia,  and  declare  Masaniello  king  in  a 
chorus  of  a  very  inspiriting  and  brilliant  character. 

The  last  act  is  very  powerful,  both  dramatically  and 
musically.  It  opens  in  the  grounds  of  the  Viceroy's  palace, 
and  Vesuvius  is  seen  in  the  distance,  its  smoke  portending  an 
eruption.  Pietro  and  companions  enter  with  wine-cups  in 
their  hands,  as  from  a  banquet,  and  the  former  sings  a  bar- 
carole ("  Ve'  come  il  vento  irato").  At  its  close  other 
fishermen  enter  and  excitedly  announce  that  troops  are  mov- 
ing against  the  people,  that  Vesuvius  is  about  to  burst  into 
flame,  and  that  Masaniello,  their  leader,  has  lost  his  reason. 
This  is  confirmed  by  the  appearance  of  the  hero  in  disordered 
attire,  singing  music  through  which  fragments  of  the  fisher- 
men's songs  as  they  rise  in  his  disturbed  brain  are  filtered. 
Fenella  rouses  him  from  his  dejection,  and  he  once  more 
turns  and  plunges  into  the  fight,  only  to  be  killed  by  his  own 
comrades.  On  learning  of  her  brother's  death  she  unites  the 
hands  of  Alphonso  and  Elvira,  and  then  in  despair  throws 
herself  into  the  burning  lava  of  Vesuvius. 

"  Masaniello  "  made  Auber's  fame  at  the  Grand  Opera,  as 
"  Fra  Diavolo  "  made  it  at  the  Opera  Comique,  but  it  has  no 
points  in  common  with  that  or  any  other  of  his  works.  It  is 
serious  throughout,  and  full  of  power,  impetuosity,  and  broad 
dramatic  treatment.  Even  Richard  Wagner  conceded  its 
vigor,  bold  effects,  and  original  harmonies.  Its  melodies  are 
spontaneous,  its  instrumentation  full  of  color,  and  its  stirring 
incidents  are  always  vigorously  handled.  In  comparison  with 
his  other  works  it  seems  like  an  inspiration.  It  is  full  of  the 
revolutionary  spirit,  and  its  performance  in  Brussels  in  1830 
was  the  cause  of  the  riots  that  drove  the  Dutch  out  of 
Belgium. 

The  Crown  Diamonds 

"The  Crown  Diamonds"  ("Les  Diamants  de  la  Cou- 
ronne  "),  opera  comique,  in  three  acts,  words  by  Scribe  and 


AUBER  13 

St.  George,  one  of  the  most  charming  of  Auber's  light  operas, 
was  first  produced  in  Paris  in  1841,  but  its  reputation  has 
been  made  on  the  English  stage.  It  was  first  performed  in 
London,  at  the  Princess  Theatre,  May  2,  1844,  with  Mme. 
Anna  Thillon,  a  charming  singer  and  most  fascinating  woman, 
as  Catarina;  but  its  real  success  was  made  at  Drury  Lane  in 
1854  by  Louisa  Pyne  and  Harrison,  who  took  the  parts  of 
Catarina  and  Don  Henrique.  The  other  roles.  Count  de 
Campo  Mayor,  Don  Sebastian,  Rebolledo,  and  Diana,  were 
filled  by  Mr.  Horncastle,  Mr.  Reeves,  ^Ir.  Borrani,  and  Miss 
Pyne,  sister  of  the  preceding,  and  with  this  cast  the  opera 
ran  a  hundred  nights. 

The  story  of  the  opera  is  laid  in  Portugal,  time,  1777. 
The  opening  scene  discloses  the  ruins  of  a  castle  in  the 
moimtains,  near  the  monastery  of  St,  Huberto,  where  Don 
Henrique,  nephew  of  the  Count  de  Campo  Mayor,  Minister  of 
Police  at  Coimbra,  overtaken  by  a  storm,  seeks  shelter.  At 
the  time  of  his  misfortune  he  is  on  his  way  to  take  part 
in  the  approaching  coronation,  and  also  to  sign  a  marriage 
contract  with  his  cousin  Diana,  daughter  of  the  Minister 
of  Police.  He  solaces  himself  with  a  song  ("  Roll  on,  roil 
on "),  during  which  he  hears  the  blows  of  hammers  in  a 
distant  cavern.  Looking  about,  he  discovers  Rebolledo,  the 
chief  of  the  coiners,  and  two  of  his  comrades  examining  the 
contents  of  his  trunk  which  is  in  their  possession.  Don 
Henrique  conceals  himself  while  Rebolledo  is  singing  a  rol- 
licking muleteer's  song  ("  O'er  Mountain  steep,  through 
Valley  roaming").  At  its  conclusion  Rebolledo,  about  to 
summon  the  other  coiners  to  their  secret  work,  discovers  Don 
Henrique,  and  thinking  him  a  spy  rushes  upon  him.  He  is 
saved  by  the  sudden  entrance  of  Catarina,  the  leader  of  the 
gang,  who  tells  the  story  of  her  life  in  a  concerted  number 
that  reminds  one  very  strikingly  of  the  bandit  song  in  "  Fra 
Diavolo."  After  examining  Don  Henrique,  and,  to  his  sur- 
prise, showing  an  intimate  acquaintance  with  his  projects, 
she  returns  him  his  property,  and  allows  him  to  depart  on 
condition  that  he  shall  not  speak  for  a  year  of  what  he  has 
seen.     He  consents;    and  then  follows  another  of  the  con- 


14.  THE    STANDARD    OPERAS 

certed  numbers  in  which  this  opera  abounds,  and  in  which 
occurs  a  charming  rondo  ("  The  young  Pedrillo  "),  accom- 
panied by  a  weird,  clanging  chorus.  Before  he  can  effect  his 
departure  the  gang  find  that  they  are  surrounded  by  troops 
led  by  Don  Sebastian,  a  friend  of  Don  Henrique.  The 
coiners,  in  company  with  the  latter,  however,  make  their 
escape  in  the  disguise  of  monks  on  their  way  to  the  neighbor- 
ing monastery,  singing  a  lugubrious  chorus  ("  Unto  the  Hermit 
of  the  Chapel  "),  while  Catarina  and  Rebolledo  elude  the  sol- 
diers by  taking  a  subterranean  passage,  carrying  with  them 
a  casket  containing  some  mysterious  jewels. 

The  second  act  opens  in  the  Chateau  de  Coimbra,  and 
discovers  the  Count,  Don  Henrique,  Don  Sebastian,  and  Diana. 
The  first  scene  discloses  that  Don  Henrique  is  in  love  with 
the  mysterious  Catarina,  and  that  Diana  is  in  love  with  Don 
Sebastian.  In  a  sportive  mood  Diana  requests  Don  Henrique 
to  sing  with  her,  and  chooses  a  nocturne  called  "  The  Brigand," 
which  closes  in  gay  bolero  time  ("  In  the  deep  Ravine  of  the 
Forest").  As  they  are  singing  it,  Don  Sebastian  announces 
that  a  carriage  has  been  overturned  and  its  occupants  desire 
shelter.  As  the  duet  proceeds,  Catarina  and  Rebolledo  enter, 
and  a  very  florid  quintet  ("Oh,  Surprise  unexpected!") 
occurs,  leading  up  to  an  ensemble  full  of  humor,  with  a  repe- 
tition of  the  brigand  song,  this  time  by  Catarina  and  Diana, 
and  closing  with  a  bravura  aria  sung  by  Catarina  ("Love! 
at  once  I  break  thy  Fetters  ").  Catarina  and  Rebolledo  ac- 
cept the  proffered  hospitality,  but  the  latter  quietly  makes  his 
exit  when  Diana  begins  to  read  an  account  of  a  robbery  which 
contains  a  description  of  himself  and  his  companion.  Cata- 
rina remains,  however,  in  spite  of  Don  Henrique's  warning 
that  she  is  in  the  house  of  the  Minister  of  Police.  In  a  moment 
of  passion  he  declares  his  love  for  her  and  begs  her  to  fly 
with  him.  She  declines  his  proffer,  but  gives  him  a  ring  as  a 
souvenir.  A  pretty  little  duet  ("If  I  could  but  Courage 
feel  ")  ensues  between  Diana  and  Don  Henrique,  in  which 
she  gently  taunts  him  with  his  inattention  to  her  and  his 
sudden  interest  in  the  handsome  stranger.  At  this  juncture 
the  Count  enters  in  wild  excitement  over  the  announcement 


AUBER  15 

that  the  crown  jewels  have  been  stolen.  Don  Henrique's  ring 
is  recognized  as  one  of  them,  and  in  the  excitement  which  en- 
sues, Catarina  finds  herself  in  danger  of  discovery,  from  which 
she  is  rescued  by  Diana,  who  promises  Don  Henrique  she  will 
send  her  away  in  the  Count's  carriage  if  he  will  agree  to  re- 
fuse to  sign  the  marriage  contract.  He  consents,  and  she 
departs  upon  her  errand.  At  this  point  in  the  scene  Don 
Henrique  sings  the  beautiful  ballad,  "  Oh,  whisper  what  thou 
feelest !  "  originally  written  for  Mr.  Harrison.  This  song 
leads  up  to  a  stirring  finale,  in  which  Don  Henrique  refuses 
to  sign  the  contract  and  Catarina  makes  her  escape. 

The  last  act  opens  in  the  anteroom  of  the  royal  palace 
at  Lisbon,  where  Diana  is  waiting  for  an  audience  with  the 
Queen.  She  sings  another  interpolated  air,  originally  written 
for  Louisa  Pyne  ("  When  Doubt  the  tortured  Frame  is  rend- 
ing "),  and  at  its  close  the  Count,  Don  Henrique,  and  Don 
Sebastian  enter.  While  they  are  conversing,  Rebolledo  ap- 
pears, announced  as  the  Count  Fuentes,  and  a  quintet  occurs, 
very  slightly  constructed,  but  full  of  humor.  An  usher  inter- 
rupts it  by  announcing  that  the  Queen  will  have  a  private 
audience  with  the  Count.  While  awaiting  her,  the  latter,  in 
a  monologue,  lets  us  into  the  secret  that  the  real  crown  jewels 
have  been  pledged  for  the  national  debt,  and  that  he  has  been 
employed  to  make  duplicates  of  them  to  be  worn  on  state 
occasions  until  the  real  ones  can  be  redeemed.  The  Queen 
enters,  and  expresses  her  satisfaction  with  the  work,  and 
promotes  him  to  the  position  of  ISIinister  of  Secret  Police. 
On  his  departure  she  sings  a  charming  cavatina  ("  Love,  dwell 
with  me  "),  and  at  its  close  Count  de  Campo  Mayor  enters 
with  the  decision  of  the  Council  that  she  shall  wed  the  Prince 
of  Spain.  She  protests  that  she  will  make  her  own  choice. 
The  Count  seeks  to  argue  with  her,  when  she  threatens  to  con- 
fiscate his  estate  for  allowing  the  crown  jewels  to  be  stolen, 
and  commands  him  to  arrest  his  daughter  and  nephew  for 
harboring  the  thieves.  Diana  suddenly  enters,  and  an  amus- 
ing trio  ensues,  the  Queen  standing  with  her  back  to  Diana 
lest  she  may  be  discovered.  The  latter  fails  to  recognize  her 
as  Catarina,  and  implores  pardon  for  assisting  in  her  escape. 


16  THE    STANDARD    OPERAS 

The  situation  is  still  further  complicated  by  the  appearance 
of  Don  Henrique,  who  has  no  difficulty  in  recognizing  Catarina. 
Bewildered  at  her  presence  in  the  Queen's  apartments,  he 
declares  to  Diana  that  he  will  seize  her  and  fly  to  some  dis- 
tant land.  His  rash  resolution,  however,  is  thwarted  by  his 
arrest,  on  the  authority  of  the  Queen,  for  treason.  A  martial 
£nale  introduces  us  to  the  Queen  in  state.  Don  Henrique 
rushes  forward  to  implore  mercy  for  Catarina.  The  Queen 
reveals  herself  at  last,  and  announces  to  her  people  that  she 
has  chosen  Don  Henrique,  who  has  loved  her  for  herself,  for 
her  husband  and  their  king.  And  thus  closes  one  of  the  most 
sparkling,  melodious,  and  humorous  of  Auber's  works.  What 
the  concerted  numbers  lack  in  solidity  of  construction  is  com- 
pensated for  by  their  grace  and  sweetness. 


AUBERT    (HENRI) 

Le  Foret  Bleue 

LE  Foret  Bleue,"  opera  comique  in  three  acts,  by  Aubert 
of  the  Paris  Conservatory,  text  by  Jacques  Chenevieve, 
a  French  poet,  was  written  for  the  opera  comique,  and  was 
first  produced  in  this  country  at  New  York  in  1911.  The 
story  is  a  web  deftly  woven  from  the  three  nursery  tales, 
"  Little  Red  Riding  Hood,"  "  Hop  o'  My  Thumb,"  and  "  The 
Sleeping  Beauty."  The  three  acts  are  entitled  "  The  Village," 
"  A  Forest,"  and  "  The  Palace."  The  two  children,  Little 
Red  Riding  Hood  and  Hop  o'  My  Thumb,  are  the  sopranos; 
Prince  Charming  and  the  Reaper,  tenors ;  and  the  Ogre  and 
Hop  o'  My  Thumb's  father,  baritones. 

The  opening  scene  discloses  the  simple  homes  of  Little  Red 
Riding  Hood  and  Hop  o'  My  Thumb.  The  Good  Fairy  enters 
and  assures  the  children  of  her  protection.  As  the  morning 
breaks.  Little  Red  Riding  Hood  goes  to  the  well  for  water, 
and  a  pretty  love  scene  occurs  between  her  and  Hop  o'  My 
Thumb,  during  which  she  informs  him  of  her  approaching 
visit  to  her  grandmother  in  the  forest.  The  interview  is  dis- 
turbed by  her  mother,  who  drives  Hop  o'  My  Thumb  away. 
His  father,  a  poverty-stricken  old  man,  sets  out  for  the  forest 
in  quest  of  work,  and  failing  to  find  it,  decides  to  abandon  the 
children  there  to  the  mercies  of  the  Good  Fairy.  Hop  o' 
My  Thumb  decides  to  go  also  and  is  met  by  Little  Red  Riding 
Hood,  who  gives  him  a  cake,  which  he  scatters  along  the  road 
so  that  he  may  find  his  way  back.  In  the  meantime  a  Princess 
with  the  golden  locks  appears  in  the  village.  She  is  destined 
to  prick  her  finger  with  a  spindle  and  fall  into  a  sleep,  from 
which  she  can  be  aroused  only  by  the  kiss  of  a  lover.     The 


18  THE    STANDARD    OPERAS 

lover  appears  in  the  form  of  Prince  Charming  and  pays  his 
suit  to  her.  While  joining  the  women  at  their  spinning- 
wheels  she  pricks  her  finger,  and  as  she  falls  to  sleep  he 
hastens  to  her  rescue  but  is  waved  away  with  the  declaration: 
"  You  ought  not  to  follow  me.  In  order  that  I  can  love,  some 
one  must  deliver  me."  The  curtain  falls  upon  the  farewell 
of  the  Prince  and  his  resolve  to  brave  the  dangers  of  the 
enchanted  forest  in  her  behalf. 

The  second  act  opens  in  the  forest.  Hop  o'  My  Thumb  has 
lost  his  way  because  the  birds  have  eaten  his  crumbs,  and  is 
pursued  by  a  hungry  Ogre,  while  Little  Red  Riding  Hood  is 
fleeing  in  terror  from  a  wolf.  The  children  finally  meet  and 
fall  asleep  exhausted.  The  Good  Fairy  comes  to  protect  them. 
As  the  Ogre  prefers  wihe  to  the  flesh  of  children,  she  makes  it 
gush  from  the  trunk  of  a  tree.  He  drinks  of  it  and  falls  in 
a  stupor,  singing  bacchanalian  songs.  While  he  is  asleep,  they 
pull  off  his  seven  league  boots,  which  leaves  him  helpless  for 
pursuit.  In  their  delight  they  sing  and  dance  the  rondo  of 
"  The  Big-bellied  Ogre,"  and  while  thus  engaged,  Prince 
Charming  appears  in  a  melancholy  mood,  for  he  has  failed  to 
find  the  Princess.  They  advise  him  to  invoke  the  help  of  the 
Good  Fairy,  which  he  does,  whereupon  he  beholds  the  en- 
chanted castle  of  the  Princess  and  the  curtain  falls. 

The  opening  scene  of  the  third  act  reveals  the  palace  and  the 
sleeping  Princess.  The  three  enter.  The  Prince  kisses  her 
and  she  awakens,  rapturously  chanting  her  love  with  the 
Prince.  Little  Red  Riding  Hood,  desiring  to  know  what  woke 
her,  is  told  by  Hop  o'  My  Thumb.  The  Princess  is  anxious 
that  the  children  remain,  but  as  they  are  no  longer  afraid  of 
the  forest  and  are  eager  to  see  their  mothers  they  set  out  upon 
their  return,  laden  with  gifts  and  accompanied  by  an  escort. 
The  Prince  dismisses  them  with  this  graceful  farewell:  "  Your 
humble  story  will  be  told  by  Grandmas  near  the  fire.  A  fairy 
tale  will  be  made  of  your  adventures.  Through  all  the  ages 
children  will  adore  you  and  you  will  live  in  the  leaves  of  pic- 
ture books." 

The  music  of  the  opera  is  as  charming  as  the  story,  though 
it  now  and  then  recalls  the  manner  of  Humperdinck  in  his 


AUBERT  19 

"  Hansel  and  Gretel."  It  is  in  modern  style  and  yet  melodi- 
cally  retains  the  old  scheme  of  the  aria,  duets,  and  chorus. 
Its  principal  numbers  are  the  "  Love  Song  "  of  the  Reaper  to 
his  sweetheart  Rosine  and  the  accompanying  chorus,  the  song 
of  the  fairy,  the  love  scene  between  the  Prince  and  Princess 
and  the  former's  farewell,  in  the  first  act;  the  duet  of  the 
children,  the  bacchanalian  song  of  the  Ogre,  the  fairies' 
chorus,  and  the  rondo  of  "  The  Big-bellied  Ogre "  in  the 
second;  the  graceful  duet  of  the  Prince  and  Princess  and 
the  farewell  of  the  children  in  the  third. 


BALFE    (MICHAEL    WILLIAM) 

The  Bohemian  Girl 

THE  Bohemian  Girl,"  grand  opera  in  three  acts,  words 
by  Bunn,  adapted  from  St.  George's  ballet  of  "  The 
Gypsy,"  performed  at  the  Paris  Grand  Opera  in  1839 
—  itself  taken  from  a  romance  by  Cervantes  —  was  first 
produced  in  London,  November  27,  1843,  at  Drury  Lane, 
with  the   following  cast: 

Arline Miss  Romer. 

Thaddeus Mr.  Harrison. 

Gypsy  Queen Miss  Betts. 

DevUshoof Mr.  Stretton. 

Count  Arnhcim Mr.  Borrani. 

Florestein Mr.  Durnset. 

The  fame  of  "  The  Bohemian  Girl  "  was  not  confined  to 
England.  It  was  translated  into  various  European  lan- 
guages, and  was  one  of  the  few  English  operas  which  secured 
a  favorable  hearing  even  in  critical  Germany.  In  its  Italian 
form  it  was  produced  at  Drury  Lane  as  "  La  Zingara," 
February  6,  1858,  with  Mile.  Piccolomini  as  Arline;  and 
also  had  the  honor  of  being  selected  for  the  state  perform- 
ance connected  with  the  marriage  of  the  Princess  Royal. 
The  French  version,  under  the  name  of  "  La  Boh^mienne," 
for  which  Balfe  added  several  numbers,  besides  enlarging 
it  to  five  acts,  was  produced  at  the  Theatre  Lyrique,  Paris, 
in  December,  1869,  and  gained  for  him  the  Cross  of  the 
Legion  of  Honor. 

The  scene  of  the  opera  is  laid  in  Austria,  and  the  first 
act  introduces  us  to  the  chateau  and  grounds  of  Count 
Amheim,  Governor  of  Presburg,  whose  retainers  are  prepar- 


BALFE  21 

ing  for  the  chase.     After  a  short  chorus  the  Count  enters 
with   his   little   daughter   Arline   and   his   nephew    Florestein. 
The  Count  sings  a  short  solo   ("A  Soldier's  Life  "),  and  as 
the  choral  response  by  his   retainers   and  hunters  dies  away 
and  they  leave  the  scene,  Thaddeus,  a  Polish  exile  and  fugi- 
tive, rushes  in  excitedly,  seeking  to  escape  tlie  Austrian  sol- 
diers.      His    opening    number     ("  'T  is    sad    to    leave    your 
Fatherland")   is  a  very  pathetic  song.     At  its   end  a  troop 
of    gypsies    enter,    headed    by    Devilshoof,    singing    a    blithe 
chorus   ("In  the  Gypsy's  Life  you  may  read").     He  hears 
Thaddeus's  story  and  induces  him  to  join  them.     Before  the 
animated   strains    fairly   cease,    Florestein    and    some    of    the 
hunters  dash  across  the  grounds  in  quest  of  Arline,  who  has 
been   attacked   by   a   stag.      Thaddeus,   seizing   a   rifle,   joins 
them,  and  rescues  the  child  by  killing  the  animal.     The  Count 
overwhelms   him   with   gratitude,   and   urges    him    to   join   in 
the    coming    festivities.      He    consents,    and    at    the    banquet 
produces  a  commotion  by  refusing  to  drink  the  health  of  the 
Emperor.      The   soldiers   are  about  to   rush  upon  him,  when 
Devilshoof  interferes.     The  gypsy  is  arrested  for  his  temer- 
ity,  and  taken   into   the   castle.      Thaddeus   departs   and   the 
festivities  are  resumed,  but  are  speedily  interrupted  again  by 
the  escape  of  Devilshoof,  who  takes  Arline  with  him.     The 
finale    of   the    act    is    stirring,    and    contains    one    number,    a 
prayer    ("  Thou    who    in    Might    supreme "),    which    is    ex- 
tremely effective. 

Twelve  years  elapse  between  the  first  and  second  acts, 
and  during  this  time  Count  Arnheim  has  received  no  tid- 
ings of  Arline,  and  has  given  her  up  as  lost  forever.  The 
act  opens  in  the  gypsy  camp  in  the  suburbs  of  Presburg. 
Arline  is  seen  asleep  in  the  tent  of  the  Queen,  with  Thad- 
deus watching  her.  After  a  quaint  little  chorus  ("  Silence, 
Silence,  the  Lady  Moon  ")  sung  by  the  gypsies,  they  depart 
in  quest  of  plunder,  headed  by  Devilshoof,  and  soon  find 
their  victim  in  the  person  of  the  foppish  and  half-drunken 
Florestein,  who  is  returning  from  a  revel.  He  is  speedily 
relieved  of  his  jewelry,  among  which  is  a  medallion,  which 
is    carried    off   by    Devilshoof.      As    the    gypsies    disappear, 


22  THE    STANDARD    OPERAS 

Arline  wakes  and  relates  her  dream  to  Thaddeus  in  the 
joyous  and  well-known  song  ("I  dreamed  I  dwelt  in  marble 
Halls  ").  At  the  close  of  the  ballad  Thaddeus  tells  her  the 
meaning  of  the  sear  upon  her  arm,  and  reveals  himself  as 
her  rescuer,  but  does  not  disclose  to  her  the  mystery  of  her 
birth.  A  musical  dialogue,  with  its  ensemble,  "  The  Secret 
of  her  Birth,"  follows.  Thaddeus  declares  his  love  for  her 
just  as  the  Queen,  who  is  also  in  love  with  Thaddeus, 
enters.  Arline  also  confesses  her  love  for  Thaddeus,  and, 
according  to  the  custom  of  the  tribe,  the  Queen  unites  them, 
at  the  same  time  vowing  vengeance  against  the  pair. 

The  scene  now  changes  to  a  street  in  the  city.  A  great 
fair  is  in  progress,  and  the  gypsies,  as  usual,  resort  to  it. 
i^Vrline  enters  at  their  head,  joyously  singing,  to  the  accom- 
paniment of  the  rattling  castanets,  "  Come  with  the  Gypsy 
Bride  " ;  her  companions,  blithely  trijjping  along,  respond- 
ing with  the  chorus,  "  In  the  Gypsy's  Life  you  may  read." 
They  disappear  down  the  street  and  reappear  in  the  public 
plaza.  Arline,  the  Queen,  Devilshoof,  and  Thaddeus  sing 
an  unaccompanied  quartet  ("  From  the  Valleys  and  Hills  "), 
a  number  characterized  by  grace  and  flowing  harmony.  As 
they  mingle  among  the  people  an  altercation  occurs  between 
Arline  and  Florestein,  who  has  attempted  to  insult  her.  The 
Queen  recognizes  Florestein  as  the  owner  of  the  medallion, 
and  for  her  courage  in  resenting  the  insult  maliciously  pre- 
sents Arline  with  it.  Shortly  afterwards  he  observes  the 
medallion  on  Arline's  neck,  and  has  her  arrested  for  theft. 
The  next  scene  opens  in  the  hall  of  justice.  Count  Arnheim 
enters  with  a  sad  countenance,  and  as  he  observes  Arline's 
portrait,  gives  vent  to  his  sorrow  in  the  well-known  melan- 
choly reverie,  "  The  Heart  bowed  down."  Arline  is  brought 
before  him  for  trial.  As  it  progresses  he  observes  the  scar 
upon  her  arm  and  asks  its  cause.  She  tells  the  story  which 
Thaddeus  had  told  her,  and  this  solves  the  mystery.  The 
Count  recognizes  his  daughter,  and  the  act  closes  with  a 
pretty  ensemble   ("Praised  be  the  Will  of  Heaven"). 

The  last  act  opens  in  the  salon  of  Count  Arnheim.  Arline 
is   restored  to   her   old   position,  but  her  love   for   Thaddeus 


BALFE  23 

remains.  He  finds  an  opportunity  to  have  a  meeting  with 
her,  through  the  cunning  of  Devilshoof,  who  accompanies 
him.  He  once  more  tells  his  love  in  the  tender  and  impas- 
sioned song,  "  When  other  Lips  and  other  Hearts,"  and  she 
promises  to  be  faithful  to  him.  As  the  sound  of  approach- 
ing steps  is  heard,  Thaddeus  and  his  companion  conceal 
themselves.  A  large  company  enter,  and  Arline  is  presented 
to  them.  During  the  ceremony  a  closely  veiled  woman  ap- 
pears, and  when  questioned  acknowledges  she  is  the  Gypsy 
Queen.  She  reveals  the  hiding-place  of  her  companions,  and 
Thaddeus  is  dragged  forth  and  ordered  to  leave  the  house. 
Arline  declares  her  love  for  him,  and  her  intention  to  go 
with  him.  She  implores  her  father  to  relent.  Thaddeus 
avows  his  noble  descent,  and  boasts  his  ancestry  and  deeds 
in  battle  in  the  stirring  martial  song,  "  When  the  fair  Land 
of  Poland."  The  Count  finally  yields  and  gives  his  daughter 
to  Thaddeus.  The  Queen,  filled  with  rage  and  despair, 
induces  one  of  the  tribe  to  fire  at  him  as  he  is  embracing 
Arline;  but  by  a  timely  movement  of  Devilshoof  the  bullet 
intended  for  Thaddeus  pierces  the  breast  of  the  Queen.  As 
the  curtain  falls,  the  old  song  of  the  gypsies  is  heard  again 
as  they  disappear  in  the  distance  with  Devilshoof  at  their 
head. 

Many  of  the  operas  of  Balfe,  like  other  ballad  operas, 
have  become  unfashionable;  but  it  is  doubtful  whether  "  The 
Bohemian  Girl  "  will  ever  lose  its  attraction  for  those  who 
delight  in  song-melody,  charming  orchestration,  and  spark- 
ling, animated  choruses.  It  leaped  into  popularity  at  a 
bound,  and  its  pretty  melodies  are  still  as  fresh  as  when 
they  were  first  sung. 


The  Rose  of  Castile 

"  The  Rose  of  Castile,"  comic  opera  in  three  acts,  the 
text  by  Harris  and  Falconer,  was  first  produced  at  the 
Lyceum  Theatre,  London,  October  29,  1857.  The  scene  is 
laid  in   Spain;     time,   last  century.      At   the   opening   of  the 


24  THE    STANDARD    OPERAS 

opera,  Elvira,  Queen  of  Leon,  has  just  ascended  the  throne, 
and  her  hand  has  been  demanded  by  the  King  of  Castile 
for  his  brother,  Don  Sebastian,  the  Infant.  The  latter,  with 
the  design  of  satisfying  his  curiosity  about  her,  is  on  the 
eve  of  entering  the  city  disguised  as  a  muleteer.  Elvira 
hears  of  this,  and  adopts  the  same  expedient,  by  starting 
with  Carmen,  one  of  her  attendants,  disguised  as  peasants, 
to  intercept  him.  In  the  opening  of  the  first  act  the  two 
appear  at  an  inn  where  the  peasants  are  dancing.  The  inn- 
keeper is  rude  to  them,  but  Don  Sebastian,  disguised  as 
Manuel,  the  muleteer,  protects  them,  and  offers  his  services 
as  escort,  which  the  Queen  willingly  accepts,  for  she  has 
recognized  him  and  he  has  fulfilled  the  motive  of  the  story 
by  falling  in  love  Avith  her.  At  this  point  Don  Pedro,  who 
has  designs  upon  the  throne,  enters  with  his  fellow- 
conspirators,  Don  Sallust  and  Don  Florio.  Observing  Elvira's 
likeness  to  the  Queen,  they  persuade  her  to  personate  Her 
Majesty,  which,  after  feigned  reluctance,  she  consents  to  do. 
She  also  accepts  their  services  as  escorts,  and  all  the  more 
unhesitatingly  because  she  knows  Manuel  will  follow  her. 

The  second  act  ojoens  in  the  throne-room  of  the  palace. 
Don  Pedro  enters,  somewhat  dejected  by  the  uncertainty 
of  his  schemes.  The  Queen,  who  has  eluded  the  surveillance 
of  the  conspirators,  also  appears  and  grants  an  audience  to 
Manuel,  in  which  he  informs  her  of  the  meeting  with  the 
peasant  girl  and  boy  and  declares  his  belief  that  they  are  the 
Queen  and  Carmen.  He  also  informs  her  of  the  conspirators' 
plot  to  imprison  her,  which  she  thwarts  by  inducing  a  silly 
old  Duchess  to  personate  the  Queen  for  one  day  and  ride, 
closely  veiled,  to  the  palace  in  the  royal  carriage.  Her 
scheme  succeeds  admirably.  The  Duchess  is  seized  and  con- 
veyed to  a  convent.  In  the  next  scene,  while  Don  Pedro  and 
Don  Florio  are  mourning  over  the  loss  of  their  peasant  girl, 
she  appears.  Their  mourning  turns  to  desperate  perplexity 
when  the  Queen  reveals  herself  and  announces  her  intention 
of  marrying  the  muleteer. 

In  the  last  act  Carmen  and  Don  Florio  agree  to  marry. 
The    Queen   and   her   ladies    now    enter,    and    a    message   is 


BALFE  25 

delivered  her  from  Don  Sebastian  announcing  his  marriage. 
Enraged  at  the  discovery  that  the  muleteer  is  not  Don 
Sebastian,  the  Queen  upbraids  him  and  yet  declares  she  will 
be  true  to  him.  This  pleases  Don  Pedro,  as  he  believes  he 
can  force  her  to  abdicate  if  she  marries  a  muleteer;  but  in 
the  last  scene  Manuel  mounts  the  throne,  and  announces  he 
is  King  of  Castile.  Elvira  expresses  her  delight,  and  all  ends 
happily. 

The  story  of  the  opera  is  exceedingly  involved,  but  the 
music  is  well  sustained  and  ranks  with  the  best  that  Balfe 
has  written.  The  principal  numbers  of  the  first  act  are  the 
lively  chorus,  "List  to  the  gay  Castanet";  the  vocal  scherzo 
by  Elvira,  "  Yes,  I  '11  obey  you  " ;  Manuel's  rollicking  song, 
"  I  am  a  simple  Muleteer  " ;  the  buffo  trio,  which  ends  in  a 
spirited  bacchanale,  "  Wine,  Wine,  the  Magician  thou  art  " ; 
and  Elvira's  pleasing  rondo,  "  Oh !  were  I  the  Queen  of 
Spain."  The  second  act  contains  the  expressive  conspirators' 
chorus,  "  The  Queen  in  the  Palace  " ;  the  beautiful  ballad, 
"  Though  Fortune  darkly  o'er  me  frowns,"  sung  by  Don 
Pedro;  the  ballad,  "The  Convent  Cell,"  sung  by  Elvira, 
which  is  one  of  Balfe's  happiest  inspirations ;  the  buffo  trio, 
"I'm  not  the  Queen,  ha,  ha";  and  Elvira's  characteristic 
scena,  "  I  'm  but  a  simple  Peasant  Maid."  The  leading 
numbers  of  the  last  act  are  the  bravura  air,  "Oh!  joyous, 
happy  Day,"  which  was  intended  by  the  composer  to  show 
the  vocal  ability  of  Eliza  Pyne,  who  first  appeared  in  the 
role  of  Elvira;  Manuel's  fine  ballad,  " 'T  was  Rank  and 
Fame  that  tempted  thee  ";  Don  Pedro's  martial  song,  "  Hark, 
hark,  methinks  I  hear  " ;  the  stirring  song  by  Manuel,  when 
he  mounts  the  throne,  which  recalls  "  The  fair  Land  of 
Poland,"  in  "  The  Bohemian  Girl " ;  and  Elvira's  second 
bravura  air,  "  Oh !    no,  by  Fortune  blessed." 


BEETHOVEN    (LUDWIG   VAN) 

Fidelio 

FIDELIO,  Oder  die  eheliche  Liebe  "  ("  Fidelio,  or  Con- 
jugal Love  "),  grand  opera  in  two  acts,  words  by 
Sonnleithner,  translated  freely  from  Bouilly's  "  Leonore,  ou 
I'Amour  Conjugal,"  was  first  produced  at  the  Theatre  An 
der  Wien,  Vienna,  November  20,  1805,  the  work  at  that  time 
being  in  three  acts.  A  translation  of  the  original  programme 
of  that  performance,  with  the  exception  of  the  usual  prices 
of  admission,  is  appended: 

IMPERIAL   AND   ROYAL   THEATRE   AN   DER   WIEN. 

NEW   OPERA. 

To-day,  Wednesday,  20  November,  1805,  at  the  Imperial  and 

Royal  Theatre  An  der  Wien,  will  be  given  for  the  first  time 

FIDELIO; 

Or,  CONJUGAL  LOVE. 

Opera  in  three  acts,  translated  freely  from  the  French  text  by 

Joseph  Sonnleithner. 

The  music  is  by  Ludwig  van  Beethoven. 

Dramatis  Personce 

Don  Fernando,  Minister Herr  Weinkopf. 

Don  Pizarro,  Governor  of  a  State  Prison Herr  Meier. 

Florestan,  prisoner Herr  Demmer. 

Leonora,  his  wife,  under  the  name  of  Fidelio Fraulein  Milder. 

Rocco,  chief  jailer      Herr  Rothe. 

Marcellina,  his  daughter Fraulein  Mijller. 

Jacquino,  turnkey Herr  Cache. 

Captain  of  the  Guard Herr  Meister. 

Prisoners,  Guards,  People. 

The  action  passes  in  a  State  prison  in  Spain,  a  few  leagues  from  Seville. 
The  piece  can  be  procured  at  the  boxoffice  for  fifteen  kreutzers. 

During    its    first    season    the    opera    was    performed    three 
times  and  then  withdrawn.     Breuning  reduced  it  to  two  acts, 


BEETHOVEN  27 

and  two  or  three  of  the  musical  numbers  were  sacrificed,  and 
in  this  form  it  was  played  twice  at  the  Imperial  Private 
Theatre  and  again  withdrawn.  On  these  occasions  it  had 
been  given  under  Beethoven's  favorite  title,  "  Leonore."  In 
1814  Treitschke  revised  it,  and  it  was  produced  at  the 
Karnthnerthor  Theatre,  Vienna,  May  23,  of  that  year,  as 
"  Fidelio,"  which  title  it  has  ever  since  retained.  Its  first 
performance  in  Paris  was  at  the  Theatre  Lyrique,  May  5, 
1860;  in  London,  at  the  King's  Theatre,  May  18,  1832; 
and  in  English  at  Covent  Garden,  June  12,  1835,  with 
Malibran  in  the  title  role.  Beethoven  wrote  four  overtures 
for  this  great  work.  The  first  was  composed  in  1805,  the 
second  in  1806,  the  third  in  1807,  and  the  fourth  in  1814-. 
It  is  curious  that  there  has  always  been  a  confusion  in  their 
numbering,  and  the  error  remains  to  this  day.  What  is 
called  No.  1  is  in  reality  No.  3,  and  was  composed  for  a 
performance  of  the  opera  at  Prague,  the  previous  overture 
having  been  too  difficult  for  the  string  section  of  the  orchestra. 
The  splendid  "  Leonora,"  No.  3,  is  in  reality  No.  2,  and 
the  No.  2  is  No.  1.  The  fourth,  or  the  "Fidelio"  overture, 
contains  a  new  set  of  themes,  but  the  "  Leonora "  is  the 
grandest  of  them  all. 

The  entire  action  of  the  opera  transpires  in  a  Spanish 
prison,  of  which  Don  Pizarro  is  governor  and  Rocco  the 
jailer.  The  porter  of  the  prison  is  Jacquino,  who  is  in  love 
with  Marcellina,  daughter  of  Rocco,  and  she  in  turn  is  in 
love  with  Fidelio,  Rocco's  assistant,  who  has  assumed  male 
disguise  the  better  to  assist  her  in  her  plans  for  the  rescue 
of  her  husband,  Florestan,  a  Spanish  nobleman.  The  latter, 
who  is  the  victim  of  Don  Pizarro's  hatred  because  he  had 
thwarted  some  of  his  evil  designs,  has  been  imprisoned  by 
him  unknown  to  the  world,  and  is  slowly  starving  to  death. 
Leonora,  his  wife,  who  in  some  way  has  discovered  that  her 
husband  is  in  the  prison,  has  obtained  employment  from 
Rocco,  disguised  as  the  young  man  Fidelio. 

The  opera  opens  with  a  charming,  playful  love  scene  be- 
tween Jacquino  and  Marcellina,  whom  the  former  is  teasing 
to   marry   him.      She    puts    him    off,   and    as    he    sorrowfully 


28  THE    STANDARD    OPERAS 

departs,  sings  the  Hope  aria,  "  Die  Hoffnung,"  a  fresh, 
smoothly  flowing  melody,  in  which  she  pictures  the  delight 
of  a  life  with  Fidelio.  At  its  close  Rocco  enters  with  the 
despondent  Jacquino,  shortly  followed  by  Fidelio,  who  is 
very  much  fatigued.  The  love  episode  is  brought  out  in  the 
famous  canon  quartet,  "  Mir  ist  so  wunderbar,"  one  of  the 
most  beautiful  and  restful  numbers  in  the  opera.  Rocco 
promises  Marcellina's  hand  to  Fidelio  as  the  reward  of  her 
fidelity,  but  in  the  characteristic  and  sonorous  Gold  song, 
"  Hat  man  nicht  auch  Geld  daneben,"  reminds  them  that 
money  as  well  as  love  is  necessary  to  housekeeping.  In  the 
next  scene,  while  Don  Pizarro  is  giving  instructions  to  Rocco, 
a  packet  of  letters  is  delivered  to  him,  one  of  which  informs 
him  that  Don  Fernando  is  coming  the  next  day  to  inspect  the 
prison,  as  he  has  been  informed  it  contains  several  victims 
of  arbitrary  power.  He  at  once  determines  that  Florestan 
shall  die,  and  gives  vent  to  his  wrath  in  a  furious  dramatic 
aria  ("  Ha!  welch  ein  Augenblick!  ").  He  attempts  to  bribe 
Rocco  to  aid  him.  The  jailer  at  first  refuses,  but  subse- 
quently, after  a  stormy  duet,  consents  to  dig  the  grave. 
Fidelio  has  overheard  the  scheme,  and,  as  they  disappear, 
rushes  forward  and  sings  the  great  aria,  "  Abscheulicher !  " 
one  of  the  grandest  and  most  impassioned  illustrations  of 
dramatic  intensity  in  the  whole  realm  of  music.  The  reci- 
tative expresses  intense  horror  at  the  intended  murder,  then 
subsides  into  piteous  sorrow,  and  at  last  leads  into  the 
glorious  adagio,  "  Komm  Hoffnung,"  in  which  she  sings  of 
the  immortal  power  of  love.  The  last  scene  of  the  act  in- 
troduces the  strong  chorus  of  the  prisoners  as  they  come  out 
in  the  yard  for  air  and  sunlight,  after  which  Rocco  relates 
to  Fidelio  his  interview  with  Don  Pizarro.  The  latter  orders 
the  jailer  to  return  the  prisoners  to  their  dungeons  and  go 
on  with  the  digging  of  the  grave,  and  the  act  closes. 

The  second  act  opens  in  Florestan's  dungeon.  The  prisoner 
sings  an  intensely  mournful  aria  ("  In  des  Lebens  Friihlings- 
tagen "),  which  has  a  rapturous  finale  ("  Und  spiir'  Ich 
nicht  linde  "),  as  he  sees  his  wife  in  a  vision.  Rocco  and 
Fidelio   enter   and   begin    digging   the    grave,    to   the    accom- 


BEETHOVEN  29 

paniment  of  sepulchral  music.  She  discovers  that  Florestan 
has  sunk  back  exhausted,  and  as  she  restores  him  recognizes 
her  husband.  Don  Pizarro  enters,  and  after  ordering  Fidelio 
away,  who  meanwhile  conceals  herself,  attempts  to  stab 
Florestan.  Fidelio,  who  has  been  closely  watching  him, 
springs  forward  with  a  shriek,  and  interposes  herself  between 
him  and  her  husband.  He  once  more  advances  to  carry  out 
his  purpose,  when  Fidelio  draws  a  pistol  and  defies  him.  As 
she  does  so  the  sound  of  a  trumpet  is  heard  outside  announc- 
ing the  arrival  of  Don  Fernando.  Don  Pizarro  rushes  out 
in  despair,  and  Florestan  and  Leonora,  no  longer  Fidelio, 
join  in  a  duet  ("  O  namenlose  Freude  ")  which  is  the  very 
ecstasy  of  happiness.  In  the  last  scene  Don  Fernando  sets 
Florestan  and  the  other  prisoners  free  in  the  name  of  the 
King.  Pizarro  is  revealed  in  his  true  character,  and  is  led 
away  to  punishment.  The  happy  pair  are  reunited,  and 
Marcellina,  to  Jacquino's  delight,  consents  to  marry  him. 
The  act  closes  with  a  general  song  of  jubilee.  As  a  drama 
and  as  an  opera,  "  Fidelio  "  stands  almost  alone  in  its  per- 
fect purity,  in  the  moral  grandeur  of  its  subject,  and  in  the 
resplendent  ideality  of  its  music. 


BELLINI    (VINCENZO) 

Norma 

NORMA/'  serious  opera  in  two  acts^  words  by  Roman!, 
was  first  produced  during  the  season  of  Lent,  1832,  at 
Milan,  with  the  principal  parts  cast  as  follows: 

Norma Mme  Pasta. 

Adalgisa Mme.  Gbisi. 

PoUione Sig.  Donzelli. 

It  was  first  heard  in  London  in  1833,  and  in  Paris  in 
1855,  and  Planche's  English  version  of  it  was  produced  at 
Drury  Lane  in  1837.  The  scene  of  the  opera  is  laid  among 
the  Druids,  in  Gaul,  after  its  occupation  by  the  Roman 
legions.  In  the  first  scene  the  Druids  enter  with  Oroveso, 
their  priest,  to  the  impressive  strains  of  a  religious  march 
which  is  almost  as  familiar  as  a  household  word.  The  priest 
announces  that  Norma,  the  high  priestess,  will  come  and  cut 
the  sacred  branch  and  give  the  signal  for  the  expulsion  of 
the  Romans.  The  next  scene  introduces  Pollione,  the  Roman 
proconsul,  to  whom  Norma,  in  defiance  of  her  faith  and 
traditions,  has  bound  herself  in  secret  marriage,  and  by  whom 
she  has  had  two  children.  In  a  charmingly  melodious  scena 
("  Meco  air  altar  di  Venere  ")  he  reveals  his  faithlessness 
and  guilty  love  for  Adalgisa,  a  young  virgin  of  the  temple, 
who  has  consented  to  abandon  her  religion  and  fly  with  him 
to  Rome.  In  the  fourth  scene  Norma  enters  attended  by  her 
priestesses,  and  denounces  the  Druids  for  their  warlike  dis- 
position, declaring  that  the  time  has  not  yet  come  for  shaking 
off  the  yoke  of  Rome,  and  that  when  it  does  she  will  give  the 
signal  from  their  altar.     After  cutting  the  sacred  mistletoe. 


Grisi  as  Norma 


BELLINI  31 

she  comes  forward  and  invokes  peace  from  the  moon  in 
that  exquisite  prayer,  "  Casta  diva/'  which  electrified  the 
world  with  its  beauty  and  tenderness,  and  still  holds  its 
place  in  popular  favor,  not  alone  by  the  grace  of  its  embel- 
lishments, but  by  the  pathos  of  its  melody.  It  is  followed 
by  another  cavatina  of  almost  equal  beauty  and  tenderness 
("Ah!  bello  a  me  ritorno  ").  In  the  next  scene  Adalgisa, 
retiring  from  the  sacred  rites,  sings  of  her  love  for  Pollione, 
and  as  she  closes  is  met  by  the  proconsul,  who  once  more 
urges  her  to  fly  to  Rome  with  him.  The  duet  between  them 
is  one  of  great  power  and  beauty,  and  contains  a  strikingly 
passionate  number  for  the  tenor  ("  Va,  crudele  ").  Op- 
pressed by  her  conscience,  she  reveals  her  fatal  promise  to 
Norma,  and  implores  absolution  from  her  vows.  Norma 
yields  to  her  entreaties,  but  when  she  inquires  the  name  and 
country  of  her  lover,  and  Adalgisa  points  to  Pollione  as  he 
enters  Norma's  sanctuary,  all  the  priestess's  love  turns  to 
wrath.  In  this  scene  the  duet,  "  Perdoni  e  ti  compiango,"  is 
one  of  exceeding  loveliness  and  peculiarly  melodious  tender- 
ness. The  act  closes  with  a  terzetto  of  great  power  ("O! 
di  qual  sei  tu  "),  in  which  both  the  priestess  and  Adalgisa 
furiously  denounce  the  faithless  Pollione.  In  the  midst  of 
their  imprecations  the  sound  of  the  sacred  shield  is  heard 
calling  Norma  to  the  rites. 

The  second  act  opens  in  Norma's  dwelling,  and  discovers 
her  children  asleep  on  a  couch.  Norma  enters  with  the  pur- 
pose of  killing  them,  but  the  maternal  instinct  overcomes  her 
vengeful  thought  that  they  are  Pollione's  children.  Adalgisa 
appears,  and  Norma  announces  her  intention  to  place  her 
children  in  the  virgin's  hands,  and  send  her  and  them  to 
Pollione  while  she  will  expiate  her  offence  on  the  funeral 
pyre.  Adalgisa  pleads  with  her  not  to  abandon  Pollione, 
who  will  return  to  her  repentant;  and  the  most  effective 
number  in  the  opera  ensues,  —  the  grand  duet  containing  two 
of  Bellini's  most  beautiful  inspirations,  the  "  Deh !  con  te  li 
prendi  "  and  the  familiar  "  Mira,  O  Norma."  Pollione, 
maddened  by  his  passion  for  Adalgisa,  impiously  attempts 
to  tear  her  from  the  altar  in  the  temple  of  Irminsul,  where- 


32  THE    STANDARD    OPERAS 

upon  Norma  enters  the  temple  and  strikes  the  sacred  shield 
summoning  the  Druids.  They  meet,  and  she  declares  the 
meaning  of  the  signal  is  war,  slaughter,  and  destruction.  She 
chants  a  hymn  ("  Guerra,  guerra  "),  which  is  full  of  the  very 
fury  of  battle.  Pollione,  who  has  been  intercepted  in  the 
temple,  is  brought  before  her.  Love  is  still  stronger  than 
resentment  with  her.  In  a  very  dramatic  scena  ("  In  mia 
Mano  alfintu  sei  ")  she  informs  him  he  is  in  her  power,  but 
she  will  let  him  escape  if  he  will  renounce  Adalgisa  and  leave 
the  country.  He  declares  death  would  be  preferable;  where- 
upon she  threatens  to  denounce  Adalgisa.  Pity  overcomes 
anger,  however.  She  snatches  the  sacred  wreath  from  her 
brow  and  declares  herself  the  guilty  one.  Too  late  Pollione 
discovers  the  worth  of  the  woman  he  has  abandoned,  and  a 
beautiful  duet  ("  Qual  cor  tradisti  ")  forms  the  closing  num- 
ber. She  ascends  the  funeral  pyre  with  Pollione,  and  in  its 
flames  they  are  purged  of  earthly  crime.  It  is  a  memorable 
fact  in  the  history  of  this  opera,  that  on  its  first  performance 
it  was  coldly  received,  and  the  Italian  critics  declared  it 
had  no  vitality;  though  there  are  few  operas  in  which  such 
intense  dramatic  effect  has  been  produced  with  simple  melodic 
force.  Its  vitality  is  attested  by  the  fact  that  Herr  Dippel, 
the  impresario  of  the  Chicago  Opera  Company,  announces  it 
in  the  repertory  of  the  season  of  1912—13,  eighty  years  after 
its  first  performance. 

La  Sonnamhula 

"  La  Sonnambula,"  opera  in  two  acts,  words  by  Romani, 
was  first  produced  in  Milan,  March  6,  1831,  with  the  fol- 
lowing cast: 

Amina Mme.  Pasta. 

Elvino      Sig.  Rubini. 

Rodolfo Sig.  Mariano. 

Lisa Mme.  Toccani. 

La  Sonnambula  was  brought  out  in  the  same  year  in  Paris 
and  London,  and  two  years  after  in  English,  with  Malibran 


BELLINI  33 

as    Amina.      The   subject   of   the    stoty    was    taken   from   a 
vaudeville    and    ballet    by    Scribe.      The    scene    is    laid    in 
Switzerland.     Amina,  an  orphan,  the   ward  of   Teresa,  the 
miller's   wife,  is   about  to   marry   Elvino,   a  well-to-do  land- 
holder of  the  village.     Lisa,  mistress  of  the  inn,  is  also  in 
love    with    Elvino,    and    jealous    of    her    rival.     Alessio,    a 
peasant  lad,  is  also  in  love  with  the  landlady.     Such  is  the 
state   of   affairs   on   the   day   before   the   wedding.      Rodolfo, 
the  young  lord  of  the  village,  next  appears  upon  the  scene. 
He  has  arrived  incognito  for  the  purpose  of  looking  up  his 
estates,    and    stops    at    Lisa's    inn,    where    he    meets    Amina. 
He   gives    her   many   pretty   compliments,   much   to   the   dis- 
satisfaction  of   the    half-jealous    Elvino,   who   is    inclined    to 
quarrel   with   the   disturber   of   his   peace   of   mind.      Amina, 
who  is   subject  to   fits   of  somnambulism,  has   been  mistaken 
for  a   ghost   by   the   peasants,   and   they   warn   Rodolfo   that 
the    village    is    haunted.      The    information,    however,    does 
not    disturb    him,    and    he    quietly    retires    to    his    chamber. 
The    officious    Lisa    also    enters,    and    a    playful    scene    of 
flirtation  ensues,  during  which  Amina  enters  the  room,  walk- 
ing in  her  sleep.     Lisa  seeks  shelter  in  a  closet.      Rodolfo, 
to   escape    from   the   embarrassment   of   the   situation,   leaves 
the   apartment,   and   Amina    reclines   upon   the   bed   as    if   it 
were  her  own.      The  malicious   Lisa  hurries   from  the   room 
to   inform   Elvino   of   what   she   has   seen,   and   thoughtlessly 
leaves    her   handkerchief.      Elvino    rushes    to    the    spot   with 
other  villagers,   and   finding  Amina,   as   Lisa   had   described, 
declares  that  she  is  guilty,  and  leaves  her.     Awakened  by  the 
noise,   the   unfortunate   girl,   realizing  the   situation,   sorrow- 
fully throws  herself  into  Teresa's  arms.     The  villagers  im- 
plore Rodolfo  to  acquit  Amina  of  any  blame,  and  he  stoutly 
protests   her  innocence;    but  it  is   of  no  avail  in   satisf5^ing 
Elvino,  who  straightway  offers  his  hand  to  Lisa.     In  the  last 
act  Amina  is  seen  stepping  from  the  window  of  the  mill  in 
her  sleep.     She  crosses  a  frail  bridge  which  yields  beneath 
her  weight  and  threatens  to  precipitate  her  upon  the  wheel 
below;    but  she  passes  it  in  safety,  descends  to  the  ground, 
and  walks  into  her  lover's  arms  amid  the  jubilant  songs  of 


34.  THE    STANDARD    OPERAS 

the  villagers.  Elvino  is  convinced  of  her  innocence,  and  they 
are  wedded  at  once,  while  the  discovery  of  Lisa's  handker- 
chief in  Rodolfo's  room  pronounces  her  the  faithless  one. 

Such  is  the  simple  little  pastoral  story  to  which  Bellini 
has  set  some  of  his  most  beautiful  melodies,  the  most  striking 
of  which  are  the  aria,  "  Sovra  il  sen,"  in  the  third  scene  of 
the  first  act,  where  Amina  declares  her  happiness  to  Teresa; 
the  beautiful  aria  for  baritone  in  the  sixth  scene,  "  Vi 
ravviso,"  descriptive  of  Rodolfo's  delight  in  revisiting  the 
scenes  of  his  youth;  the  playful  duet  between  Amina  and 
Elvino,  "  Mai  piu  dubbi !  "  in  which  she  rebukes  him  for  his 
jealousy;  the  humorous  and  very  characteristic  chorus  of  the 
villagers  in  the  tenth  scene,  "  Osservate,  1'  Uscio  e  aperto," 
as  they  tiptoe  into  Rodolfo's  apartment;  the  duet,  "O  mio 
Dolor,"  in  the  next  scene,  in  which  Amina  asserts  her  inno- 
cence ;  the  aria  for  tenor  in  the  third  scene  of  the  second  act, 
"  Tutto  e  sciolto,"  in  which  Elvino  bemoans  his  sad  lot; 
and  that  joyous  ecstatic  outburst  of  birdlike  melody,  "  Ah ! 
non  giunge,"  which  closes  the  opera.  In  fact,  "  Sonnambula  " 
is  replete  with  melodies  of  the  purest  and  tenderest  kind. 
It  is  exquisitely  idyllic  throughout,  and  the  music  is  as  quiet, 
peaceful,  simple,  and  tender  as  the  charming  pastoral  scenes 
it  illustrates. 

I  Puritani 

"  I  Puritani,"  grand  opera  in  two  acts,  text  by  Count 
Pepoli,  was  first  produced  at  Paris,  January  25,  1835,  with 
the  following  cast: 

Elvira Mme.  Grisi. 

Arturo Sig.  Rubini. 

Ricardo Sig.  Tamburini. 

Giorgio Sig.  Lablache. 

The  story  of  the  opera  is  laid  in  England  during  the  war 
between  Charles  II  and  his  Parliament,  and  the  first  scene 
opens  in  Plymouth,  then  held  by  the  parliamentary  forces. 
The  fortress  is  commanded  by  Lord  Walton,  whose  daughter. 


BELLINI  35 

Elvira,  is  in  love  with  Lord  Arthur  Talbot,  a  young  cavalier 
in  the  King's  service.  Her  hand  had  previously  been  prom- 
ised to  Sir  Richard  Forth  of  the  parliamentary  army;  but  to 
the  great  delight  of  the  maiden,  Sir  George  Walton,  brother 
of  the  commander,  brings  her  the  news  that  her  father  has 
relented,  and  that  Arthur  will  be  admitted  into  the  fortress 
for  the  celebration  of  the  nuptials.  Henrietta,  widow  of 
Charles  I,  is  at  this  time  a  prisoner  in  the  fortress,  under 
sentence  of  death.  Arthur  discovers  her  situation  and  seeks 
to  effect  her  escape  by  shrouding  her  in  Elvira's  bridal  veil. 
On  their  way  out  he  encounters  his  rival;  but  the  latter,  dis- 
covering that  the  veiled  lady  is  not  Elvira,  allows  them  to 
pass.  The  escape  is  soon  discovered,  and  Elvira,  thinking 
her  lover  has  abandoned  her,  loses  her  reason.  Arthur  is 
proscribed  by  the  Parliament  and  sentenced  to  death,  but  Sir 
Richard,  moved  by  the  appeals  of  Sir  George  Walton,  who 
hopes  to  restore  his  niece  to  reason,  promises  to  use  his 
influence  with  Parliament  to  save  Arthur's  life  should  he  be 
captured  unarmed.  Arthur  meanwhile  manages  to  have  an 
interview  with  Elvira;  and  the  latter,  though  still  suffering 
from  her  mental  malady,  listens  joyfully  to  his  explanation 
of  his  sudden  flight.  Their  interview  is  disturbed  by  a  party 
of  Puritans  who  enter  and  arrest  him.  He  is  condemned  to 
die  on  the  spot;  but  before  the  sentence  can  be  carried  out, 
a  messenger  appears  with  news  of  the  King's  defeat  and 
the  pardon  of  Arthur.  The  joyful  tidings  restore  Elvira  to 
reason,  and  the  lovers  are  united. 

The  libretto  of  "  I  Puritani  "  is  one  of  the  poorest  ever 
furnished  to  Bellini,  but  the  music  is  some  of  his  best.  The 
prominent  numbers  of  the  first  act  are  the  pathetic  cavatina 
for  Ricardo,  "  Ah !  per  sempre  io  ti  perdei,"  in  which  he 
mourns  the  loss  of  Elvira;  a  lovely  romanza  for  tenor  ("A 
te  o  cara  ")  ;  a  brilliant  polacca  ("  Son  Vergin  vezzosa  ")  for 
Elvira,  and  a  concerted  finale,  brimming  over  with  melody 
and  closing  with  the  stirring  anathematic  chorus,  "  Non  Casa, 
non  Spiaggia."  The  first  grand  number  in  the  second  act 
is  Elvira's  mad  song,  "  Qui  la  voce,"  in  which  is  brought  out 
that  rare  gift  for  expressing  pathos  in  melody  for  which  Bellini 


36  THE    STANDARD    OPERAS 

is  so  famous.  The  remaining  numbers  are  Elvira's  appeal  to 
her  lover  ("  Vien,  diletto  "),  the  duet  for  basses  ("  Suoni  la 
tromba  "),  known  as  the  "  Liberty  Duet,"  which  in  sonorous- 
ness, majesty,  and  dramatic  intensity  hardly  has  an  equal  in 
the  whole  range  of  Italian  opera;  a  tender  and  plaintive 
romanza  for  tenor  ("  A  una  Fonte  aflitto  e  solo  ")  ;  a  passion- 
ate duet  for  Arthur  and  Elvira  ("  Star  teco  ognor  ")  ;  and  an 
adagio,  sung  by  Arthur  in  the  finale  ("  Ella  e  tremante  "). 


BITTNER    (KARL) 

T)er  Bergsee 

THE  name  of  Bittner  is  a  new  one  to  the  operatic  world, 
and  his  operas  have  not  yet  been  heard  in  this  country, 
but  if  Vienna  reports  are  reliable,  it  is  not  impossible  that 
his  third  opera,  "  Der  Bergsee,"  will  yet  be  heard  in  this 
country,  since  it  has  made  a  great  success  in  Germany  as 
well  as  in  Austria.  Hence  it  is  included  in  this  collection. 
The  composer,  Julius  Bittner,  is  not  only  a  musician  but  his 
own  librettist,  and  more  than  that  is  a  lawyer  by  profession 
and  at  present  judge  in  a  Vienna  court.  The  opera  was  first 
produced  in  Vienna  in  November,  1911,  at  the  Imperial  Opera 
House.  In  "  Der  Bergsee  "  ("  The  Mountain  Lake  "),  as  in 
his  two  previous  operas,  "  Rothe  Gred "  and  "  Musikant," 
Austrian  peasants  are  the  central  figures,  the  scene  of  the 
opera  being  laid  in  the  sixteenth  century,  when  they  were 
at  war  with  the  Bishop  of  Salzburg. 

A  young  peasant,  Joeg  Steinlechner,  is  in  the  military 
service  of  the  Bishop  of  Salzburg,  and  one  night,  while  on 
guard  duty,  becomes  homesick,  deserts,  and  goes  back  home 
to  his  sweetheart,  Gundula,  and  his  friends.  There  he  dis- 
covers not  only  that  the  latter  are  revolting  against  the 
Bishop's  tyranny,  but  that  Gundula,  in  her  despair  over  the 
uncertainty  of  his  return,  has  married  a  fisherman  and  is 
leading  a  wretched  life.  Shortly  after  his  coming  back  the 
fisherman  is  supposed  to  have  lost  his  life  in  the  war,  and 
Gundula,  finding  herself  free,  turns  again  towards  her  lover 
for  comfort.  Joerg,  however,  decides  that  he  must  follow 
his  comrades.  He  accordingly  goes  with  the  peasant  troops 
down  a  mountain  pass  and  by  a  path  which  has  been  opened 
up  by  a  dam  which  holds  back  the  waters  of  the  Bergsee. 
In  her  despair  Gundula  cuts  the  dam  sufficiently  to  let  the  flood 
through  and  then  plunges  into  the  water  herself,  making  a 
melodramatic  denouement  to  the  simple  plot. 


BIZET    (GEORGES) 

Carmen 

"/^ARMEN,"  opera  in  four  acts,  words  by  Meilhac  and 
\^  Halevy,  adapted  from  Prosper  Merimee's  romance  of 
"  Carmen/'  was  first  produced  at  the  Opera  Comique,  Paris, 
March  S,  1875,  with  Mme.  Galli-Marie  in  the  title  role  and 
Mile.  Chapuy  as  Michaela.  The  scene  is  laid  in  Seville; 
time,  1820.  The  first  act  opens  in  the  public  square,  filled 
with  a  troop  of  soldiers  under  command  of  Don  Jose,  and 
loungers  who  are  waiting  the  approach  of  the  pretty  girls 
who  work  in  the  cigar-factory  near  by,  and  prettiest  and  most 
heartless  of  them  all,  Carmen.  Before  they  appear,  Michaela, 
a  village  girl,  enters  the  square,  bearing  a  message  to  Don 
Jose  from  his  mother,  but  not  finding  him  departs.  The 
cigar-girls  at  last  pass  by  on  their  way  to  work,  and  with 
them  Carmen,  who  observes  Don  Jose  sitting  in  an  indifferent 
manner  and  throws  him  the  rose  she  wears  in  her  bosom.  As 
they  disappear,  Michaela  returns  and  delivers  her  message. 
The  sight  of  the  gentle  girl  and  his  thoughts  of  home  dispel 
Don  Jose's  growing  passion  for  Carmen.  He  is  about  to 
throw  away  her  rose,  when  a  sudden  disturbance  is  heard  in 
the  factory.  It  is  found  that  Carmen  has  quarrelled  with  one 
of  the  girls  and  wounded  her.  She  is  arrested,  and  to  prevent 
further  mischief  her  arms  are  pinioned.  She  so  bewitches 
the  lieutenant,  however,  that  he  connives  at  her  escape  and 
succeeds  in  effecting  it,  while  she  is  being  led  away  to  prison 
by  the  soldiers.  In  the  second  act  Carmen  has  returned  to 
her  wandering  gypsy  life,  and  we  find  her  with  her  com- 
panions in  the  cabaret  of  Lillas-Pastia,  singing  and  dancing. 
Among   the    new    arrivals    is    Escamillo,   the   victorious    bull- 


Calve  as  Carfnen 

Copyright,  Fa  Ik 


BIZET  39 

fighter  of  Grenada,  with  whom  Carmen  is  at  once  fascinated. 
When  the  inn  is  closed,  Escamillo  and  the  soldiers  depart,  but 
Carmen  waits  with  two  of  the  gypsies,  who  are  smugglers, 
for  the  arrival  of  Don  Jose.  They  persuade  her  to  induce 
him  to  join  their  band,  and  when  the  lieutenant,  wild  with 
passion  for  her,  enters  the  apartment,  she  prevails  upon  him 
to  remain  in  spite  of  the  trumpet-call  which  summons  him  to 
duty.  An  officer  appears  and  orders  him  out.  He  refuses  to 
go,  and  when  the  officer  attempts  to  use  force  Carmen  sum- 
mons the  gypsies.  He  is  soon  overpowered,  and  Don  Jose 
escapes  to  the  mountains.  The  third  act  opens  in  the  haunt 
of  the  smugglers,  a  wild,  rocky,  cavernous  place.  Don  Jose 
and  Carmen,  who  is  growing  very  indifferent  to  him,  are 
there.  As  the  contrabandists  finish  their  work  and  gradually 
leave  the  scene,  Escamillo,  who  has  been  following  Carmen, 
appears.  His  presence  and  his  declarations  as  well  arouse 
the  jealousy  of  Don  Jose.  They  rush  at  each  other  for 
mortal  combat,  but  the  smugglers  separate  them.  Escamillo 
bides  his  time,  invites  them  to  the  approaching  bull-fight  at 
Seville,  and  departs.  While  Don  Jose  is  upbraiding  Carmen, 
the  faithful  Michaela,  who  has  been  guided  to  the  spot,  begs 
him  to  accompany  her,  as  his  mother  is  dying.  Duty  prevails, 
and  he  follows  her  as  Escamillo's  taunting  song  is  heard 
dying  away  in  the  distance.  In  the  last  act  the  drama  hur- 
ries on  to  the  tragic  denouement.  It  is  a  gala-day  in  Seville, 
for  Escamillo  is  to  fight.  Carmen  is  there  in  his  company, 
though  her  gypsy  friends  have  warned  her  Don  Jose  is  search- 
ing for  her.  Amid  great  pomp  Escamillo  enters  the  arena, 
and  Carmen  is  about  to  follow,  when  Don  Jose  appears  and 
stops  her.  He  appeals  to  her  and  tries  to  awaken  the  old 
love.  She  will  not  listen,  and  at  last  in  a  fit  of  wild  rage 
hurls  the  ring  he  had  given  her  at  his  feet.  The  shouts  of 
the  people  in  the  arena  announce  another  victory  for 
Escamillo.  She  cries  out  with  joy.  Don  Jose  springs  at  her 
like  a  tiger,  and  stabs  her  just  as  Escamillo  emerges  from 
the  contest. 

"  Carmen  "  is  the  largest  and  best-considered  of  all  Bizet's 
works,  and  one  of  the  best  in  the  modern  French  repertoire. 


40  THE    STANDARD    OPERAS 

The  overture  is  short  but  very  brilliant.  After  some  char- 
acteristic choruses  by  the  street  lads,  soldiers,  and  cigar-girls. 
Carmen  sings  the  Habanera  ("  Amor,  misterioso  Angelo "), 
a  quaint  melody  in  which  the  air  is  taken  from  an  old  Spanish 
song  by  Iradier,  called  "  El  Aveglito."  A  serious  duet  be- 
tween Michaela  and  Don  Jose  ("  Mia  Madre  io  la  rivedo  ") 
follows,  which  is  very  tender  in  its  character.  The  next 
striking  number  is  the  dance  tempo,  "  Presso  il  Bastion  de 
Seviglia,"  a  seguidilla,  sung  by  Carmen  while  bewitching  Don 
Jose.  In  the  finale,  as  she  escapes,  the  Habanera  is  heard 
again. 

The  second-act  music  is  peculiarly  Spanish  in  color,  par- 
ticularly that  for  the  ballet.  The  opening  song  of  the  gypsies 
in  the  cabaret,  to  the  accompaniment  of  the  castanets  ("  Vezzi 
e  anella  scintillar ")  is  bewitching  in  its  rhythm,  and  is 
followed  in  the  next  scene  by  a  stirring  and  very  picturesque 
aria  ("  Toreador,  attento  "),  in  which  Escamillo  describes  the 
bull-fight.  A  beautifully  written  quintet  ("  Abbiamo  in 
vista  "),  and  a  strongly  dramatic  duet,  beginning  with  an- 
other fascinating  dance  tempo  ("  Voglio  Danzar  pel  tuo 
piacer  "),  and  including  a  beautiful  pathetic  melody  for  Don 
Jose  ("  II  fior  che  avevi),  close  the  music  of  the  act. 

The  third  act  contains  two  very  striking  numbers,  the 
terzetto  of  the  card-players  in  the  smugglers'  haunt  ("  Mis- 
chiam!  alziam !  "),  and  Michaela's  aria  ("  Io  dico  no,  non  son 
paurosa  "),  the  most  effective  and  beautiful  number  in  the 
whole  work,  and  the  one  which  shows  most  clearly  the  effect 
of  Wagner's  influence  upon  the  composer.  In  the  finale  of 
the  act  the  Toreador's  song  is  again  heard  as  he  disappears 
in  the  distance  after  the  quarrel  with  Don  Jose. 

The  last  act  is  a  hurly-burly  of  the  bull-fight,  the  Toreador's 
taking  march,  the  stormy  duet  between  Don  Jose  and  Carmen, 
and  the  tragic  denouement  in  which  the  "  Carmen  "  motive 
is  repeated.  The  color  of  the  whole  work  is  Spanish,  and 
tlie  dance  tempo  is  freely  used  and  beautifully  worked  up 
with  Bizet's  ingenious  and  scholarly  instrumentation.  Ex- 
cept in  the  third  act,  however,  the  vocal  parts  are  inferior 
to  the  orchestral  treatment. 


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BLECH 

Versiegelt 

LEO  BLECH  is  a  name  well  known  in  Germany,  but  was 
unfamiliar  here  until  the  production  of  his  one-act  opera 
"  Versiegelt/'  in  New  York,  January  20,  1912.  He  was 
born  at  Annchen,  April  21,  1871,  and  studied  with  Humper- 
dinck,  one  of  his  first  duties  being  the  preparation  of  the  lat- 
ter's  "  Hansel  and  Gretel  "  for  performance.  He  has  had  con- 
siderable success  in  operatic  direction,  having  been  conductor 
at  Aix  la  Chapelle,  Prague,  and  at  the  Royal  Opera,  Berlin, 
as  a  confrere  of  Muck  and  Edmund  von  Strauss.  He  has 
written  six  operas,  all  of  which  have  been  well  received,  but 
the  only  one  known  here  is  the  "  Versiegelt,"  or  "  Sealed  up," 
which  was  first  performed  at  Hamburg  in  1908  and,  as  said 
above,  for  the  first  time  in  this  country  by  the  Metropolitan 
troupe,  in  New  York,  January  20,  1912,  with  Weil,  Alten, 
Gadski,  Jadlowski,  and  Goritz  in  the  leading  roles. 

The  libretto,  founded  upon  a  play  by  Raupach,  was  written 
by  Richard  Balka  and  Pordes  Milo.  The  story  turns  upon 
the  blunder  of  Lampe,  the  over-vigilant  and  very  stupid  police 
official  of  a  little  village.  The  Burgomaster  is  in  love  with 
a  widow,  one  of  his  neighbors,  who,  to  protect  another  widow, 
her  friend,  from  having  her  wardrobe  seized  for  delinquency 
in  meeting  her  taxes,  takes  that  article  of  furniture  into  her 
own  possession.  While  the  Burgomaster  is  making  love  to 
widow  Gertrude,  they  hear  Lampe  coming,  and  the  widow 
hastily  conceals  the  Burgomaster  in  the  wardrobe.  Lampe, 
suspecting  a  scheme  to  avoid  paying  the  taxes,  places  the 
seals  of  the  law  upon  it  and  leaves  him  inside  while  he  goes 
out  to  investigate  matters.    In  the  meantime  the  Burgomaster's 


45  THE    STANDARD    OPERAS 

daughter,  Elsa,  and  her  lover  enter.  The  widow  informs 
them  that  he  is  locked  up  in  the  wardrobe  and  goes  out  to 
summon  the  villagers,  who  are  engaged  in  a  Schiitzenfest. 
The  daughter  sees  an  opportunity  to  overcome  the  prejudices 
of  her  father  against  her  lover.  She  makes  strenuous  love  to 
him,  and  he,  as  they  have  arranged  together,  reproaches  her 
for  her  unfilial  conduct  towards  her  father,  in  the  hearing  of 
the  Burgomaster.  The  latter  at  last  clamors  for  his  release, 
and  the  daughter  consents  upon  condition  that  he  will  sign 
the  marriage  compact  and  give  them  a  comfortable  dowry. 
He  consents  upon  condition  that  they  shall  take  his  place. 
The  villagers  rush  in  to  enjoy  the  compromising  situation 
of  the  Burgomaster,  but  their  anticipated  merriment  turns 
to  surprise  when  the  door  of  the  wardrobe  opens  and  the 
young  lovers  step  out.  In  the  midst  of  the  confusion  the 
blundering  Lampe  enters  with  the  story  that  the  Burgomaster 
and  the  young  people  have  disappeared  and  for  aught  he 
knows  have  been  murdered.  The  Burgomaster  thereupon 
steps  forward  and  by  virtue  of  his  authority  orders  Lampe 
into  the  wardrobe,  which  is  taken  back  to  the  home  of  its 
owner,  and  the  curtain  falls  upon  the  joy  of  the  happy 
lovers. 

The  opera  opens  without  overture  and  has  been  well  called 
"  Conversational  Opera,"  as  the  music  from  beginning  to  end 
serves  as  the  vehicle  of  humorous  talk  between  the  characters 
and  skilfully  depicts  its  changing  moods  growing  out  of  the 
ludicrous  situations,  relieved  here  and  there  by  bits  of  lyric 
effects  which  are  pleasantly  melodious.  Its  principal  num- 
bers are  the  duet  for  Elsa  and  her  lover,  followed  shortly 
by  a  charming  quartet  for  the  two  lovers  and  the  two 
widows,  a  very  effective  passage  for  the  Burgomaster  and  the 
widow  Gertrude,  a  rapid  outburst  of  volubility  from  Lampe, 
a  chattering  quartet  for  the  lovers  and  the  widows,  a  pianis- 
simo trio  for  Lampe  and  the  widows,  and  the  concluding 
chorus  of  the  villagers  in  waltz  rhythm.  The  work  as  a  whole 
is  not  so  much  a  musical  comedy  as  a  rollicking  comedy  of 
music. 


BOIELDIEU   (FRANCOIS    ADRIAN) 

La  Dame  Blanche 

LA  Dame  Blanche,"  oiDera  eomique  in  three  acts,  words 
by  Scribe,  adapted  from  Walter  Scott's  novels,  "  The 
Monastery  "  and  "  Guy  Mannering,"  was  first  produced  at  the 
Opera  Comique,  December  10,  1825,  and  was  first  performed 
in  English  under  the  title  of  "  The  White  Maid,"  at  Covent 
Garden,  London,  January  2,  1827.  The  scene  of  the  opera 
is  laid  in  Scotland.  The  Laird  of  Avenel,  a  zealous  partisan 
of  the  Stuarts,  was  proscribed  after  the  battle  of  Culloden, 
and  upon  the  eve  of  going  into  exile  intrusts  Gaveston,  his 
steward,  with  the  care  of  the  castle,  and  of  a  considerable 
treasure  which  is  concealed  in  a  statue  called  the  White  Lady. 
The  traditions  affirmed  that  this  lady  was  the  protectress  of 
the  Avenels.  All  the  clan  were  believers  in  the  story,  and 
the  villagers  declared  they  had  often  seen  her  in  the  neigh- 
borhood. Gaveston,  however,  does  not  share  their  supersti- 
tion nor  believe  in  the  legend,  and  some  time  after  the  de- 
parture of  the  Laird  he  announces  the  sale  of  the  castle, 
hoping  to  obtain  it  at  a  low  rate  because  the  villagers  will 
not  dare  to  bid  for  it  through  fear  of  the  White  Lady.  The 
steward  is  led  to  do  this  because  he  has  heard  the  Laird  is 
dead,  and  knows  there  is  no  heir  to  the  property.  Anna, 
an  orphan  girl,  who  had  been  befriended  by  the  Laird,  de- 
termines to  frustrate  Gaveston's  designs,  and  appears  in  the 
village  disguised  as  the  White  Lady.  She  also  writes  to  Dick- 
son, a  farmer,  who  is  indebted  to  her,  to  meet  her  at  mid- 
night in  the  castle  of  Avenel.  He  is  too  superstitious  to  go, 
and  George  Brown,  a  young  lieutenant  who  is  sharing  his 
hospitality,  volunteers  in  his  stead.     He  encounters  the  White 


44  THE    STANDARD    OPERAS 

Lady,  and  learns  from  her  he  will  shortly  meet  a  young  lady 
who  has  saved  his  life  by  her  careful  nursing  after  a  battle, 
—  Anna  meanwhile  recognizing  George  as  the  person  she  had 
saved.  When  the  day  of  sale  comes,  Dickson  is  empowered 
by  the  farmers  to  purchase  the  castle,  so  that  it  may  not  fall 
into  Gaveston's  hands.  George  and  Anna  are  there;  and  the 
former,  though  he  has  not  a  shilling,  buys  it  under  instructions 
from  Anna.  When  the  time  comes  for  payment,  Anna  pro- 
duces the  treasure  which  had  been  concealed  in  the  statue, 
and,  still  in  the  disguise  of  the  White  Lady,  reveals  to  him 
the  secret  of  his  birth  during  the  exile  of  his  parents.  Gav- 
eston  approaches  the  spectre  and  tears  off  her  veil,  revealing 
Anna,  his  ward.  Moved  by  the  zeal  and  fidelity  of  his 
father's  protegee,  George  offers  her  his  hand,  which,  after 
some  maidenly  scruples,  she  accepts. 

The  opera  is  full  of  beautiful  songs,  many  of  them  Scotch 
in  character.  In  the  first  act  the  opening  song  of  George 
("Ah,  what  Pleasure  a  Soldier  to  be!")  is  very  poetical  in 
its  sentiment.  It  also  contains  the  characteristic  ballad  of  the 
White  Lady,  with  choral  responses  ("Where  yon  Trees  your 
Eye  discovers  "),  and  a  graceful  trio  in  the  finale  ("  Heavens ! 
what  do  I  hear.''  ").  The  second  act  opens  with  a  plaintive 
romanza  ("  Poor  Margaret,  spin  away!  "),  sung  by  Margaret, 
Anna's  old  nurse,  at  her  spinning-wheel,  as  she  thinks  of  the 
absent  Laird,  followed  in  the  fifth  scene  by  a  beautiful  cavatina 
for  tenor  ("Come,  O  gentle  Lady").  In  the  seventh  scene 
is  a  charming  duet  ("  From  these  Halls  "),  and  the  act  closes 
with  an  ensemble  for  seven  voices  and  chorus.  The  third  act 
opens  with  a  charmingly  sentimental  aria  for  Anna  ("With 
what  Delight  I  behold  "),  followed  in  the  third  scene  by  a 
stirring  chorus  of  mountaineers,  leading  up  to  "  the  lay  ever 
sung  by  the  Clan  of  Avenel,"  —  the  familiar  old  ballad, 
"  Robin  Adair,"  which  loses  a  little  of  its  local  color  under 
French  treatment,  but  gains  an  added  grace.  It  is  stated 
on  good  authority  that  two  of  Boieldieu's  pupils,  Adolph 
Adam  and  Labarre,  assisted  him  in  the  work,  and  that  the 
overture  was  written  in  one  evening,  —  Boieldieu  furnishing 
the    andante   and   the   two   others  the   remaining  movements. 


BOIELDIEU  45 

Though  a  little  old-fashioned  in  some  of  its  phrasing,  the 
opera  still  retains  its  freshness  and  beautiful  sentiment.  Its 
popularity  is  best  evinced  by  the  fact  that  up  to  June,  1875, 
it  had  been  given  1340  times  at  the  theatre  where  it  was  first 
produced. 


BOITO    (ARRIGO) 

Mephistopheles 

ft  ,^ 
|\/TEPHISTOPHELES/'  grand  opera  in  a  prologue^  four 

lyA.  ads,  and  epilogue^  words  by  the  composer,  was  first 
performed  at  La  Scala,  Milan,  in  1868.  The  "Prologue  in 
the  Heavens  "  contains  five  numbers,  a  prelude,  and  chorus  of 
the  mystic  choir;  instrumental  scherzo,  preluding  the  appear- 
ance of  Mephistopheles;  dramatic  interlude,  in  which  he  en- 
gages to  entrap  Faust;  a  vocal  scherzo  by  the  chorus  of 
cherubim;  and  the  Final  Psalmody  by  the  penitents  on  earth 
and  chorus  of  spirits.  The  prologue  corresponds  to  Goethe's 
prologue  in  the  heavens,  the  heavenly  choirs  being  heard  in 
the  background  of  clouds,  accompanied  by  weird  trumpet- 
peals  and  flourishes  in  the  orchestra,  and  closes  with  a  finale 
of  great  power. 

The  first  act  opens  in  the  city  of  Frankfort,  amid  the  noise 
of  the  crowd  and  the  clanging  of  holiday  bells.  Groups  of 
students,  burghers,  huntsmen,  and  peasants  sing  snatches  of 
chorus.  A  cavalcade  escorting  the  Elector  passes.  Faust  and 
Wagner  enter,  and  retire  as  the  peasants  begin  to  sing  and 
dance  a  merry  waltz  rhythm  ("  Juhe!  Juhe!").  As  it  dies 
away  they  reappear,  Faust  being  continually  followed  by  a 
gray  friar  (Mephistopheles  in  disguise),  whose  identity  is  dis- 
closed by  a  motive  from  the  prologue.  Faust  shudders  at  his 
presence,  but  Wagner  laughs  away  his  fears,  and  the  scene 
then  suddenly  changes  to  Faust's  laboratory,  whither  he  has 
been  followed  by  the  gray  friar,  who  conceals  himself  in  an 
alcove.  Faust  sings  an  aria  ("  Dai  Campi,  dai  Prati  "),  and 
then,  placing  the  Bible  on  a  lectern,  begins  to  read.  The  sight 
of  the  book  brings  Mephistopheles  out  with  a  shriek.     When 


BOITO  47 

questioned  by  Faust,  he  reveals  his  true  self  in  a  massive  and 
sonorous  aria  ("  Son  lo  Spirito  ").  He  throws  off  his  disguise, 
and  appears  in  the  garb  of  a  knight,  offering  to  serve  P'aust 
on  earth  if  he  will  serve  the  powers  of  darkness  in  hell. 
The  compact  is  made,  as  in  the  first  act  of  Gounod's  "  Faust," 
and  the  curtain  falls  as  Faust  is  about  to  be  whisked  away 
in  Mephistopheles's  cloak. 

The  second  act  opens  in  the  garden,  with  Faust  (under 
the  name  of  Henry),  Marguerite,  Mephistopheles,  and  Martha, 
Marguerite's  mother,  strolling  in  couples.  The  music,  which 
is  of  a  very  sensuous  character,  is  descriptive  of  the  love- 
making  between  Faust  and  Marguerite,  and  the  sarcastic  pas- 
sion of  Mephistopheles  for  Martha.  It  is  mostly  in  duet 
form,  and  closes  with  an  allegretto  quartet  ("  Addio,  fuggo  "), 
which  is  very  characteristic.  The  scene  then  suddenly  changes 
to  tlie  celebration  of  the  Witches'  Sabbath  on  the  summits  of 
the  Brocken,  where,  amid  wild  witch  choruses,  mighty  dis- 
sonances, and  weird  incantation  music,  Faust  is  shown  a  vision 
of  the  sorrow  of  Marguerite.  It  would  be  impossible  to  select 
special  numbers  from  this  closely  interwoven  music,  excepting 
perhaps  the  song  ("  Ecco  il  Mondo  ")  which  Mephistopheles 
sings  when  the  witches,  after  their  incantation,  present  him 
with  a  globe  of  glass  which  he  likens  to  the  earth. 

The  third  act  opens  in  a  prison,  where  Marguerite  is  await- 
ing the  penalty  for  murdering  her  babe.  The  action  is  very 
similar  to  that  of  the  last  act  of  Gounod's  "  Faust."  Her 
opening  aria  ("  La'  altra  Notte  a  Fondo  al  Maro  ")  is  full 
of  sad  longings  for  the  child  and  insane  moanings  for  mercy. 
Faust  appeals  to  her  to  fly  with  him,  and  they  join  in  a  duet 
of  extraordinary,  sensuous  beauty  blended  with  pathos  ("  Lon- 
tano,  lontano!").  Mephistopheles  urges  Faust  away  as  the 
day  dawns,  and  as  Marguerite  falls  and  dies,  the  angelic 
chorus  resounding  in  the  orchestra  announces  her  salvation. 

In  the  fourth  act  a  most  abrupt  change  is  made,  both  in  a 
dramatic  and  musical  sense.  The  scene  changes  to  the  "  Night 
of  the  Classical  Sabbath  "  on  the  banks  of  the  Peneus,  amid 
temples,  statues,  flowers,  and  all  the  loveliness  of  nature  in 
Greece.    The  music  also  changes  into  the  pure,  sensuous  Italian 


48  THE    STANDARD    OPERAS 

style.  Faust,  still  with  Mephistopheles,  pays  court  to  Helen 
of  Troy,  who  is  accompanied  by  Pantalis.  The  opening  duet 
for  the  latter  "  La  Luna  immobile  ")  is  one  of  exceeding  grace 
and  loveliness.  With  the  exception  of  a  powerfully  dramatic 
scena,  in  which  Helen  describes  the  horrors  of  the  destruction 
of  Troy,  the  music  is  devoted  to  the  love-making  between 
Helen  and  Faust,  and  bears  no  relation  in  form  to  the  rest 
of  the  music  of  the  work,  being  essentially  Italian  in  its 
smooth,  flowing,  melodious  character. 

At  the  close  of  the  classical  Sabbath  another  abrupt  change 
is  made,  to  the  death-scene  of  Faust,  contained  in  an  epilogue. 
It  opens  in  his  laboratory,  where  he  is  reflecting  upon  the 
events  of  his  unsatisfactory  life,  and  contemplating  a  happier 
existence  in  heaven.  Mephistopheles  is  still  by  his  side  as  the 
tempter,  offers  him  his  cloak,  and  urges  him  to  fly  again. 
The  heavenly  trumpets  which  rang  through  the  prologue  are 
again  heard,  and  the  celestial  choirs  are  singing.  Enraged, 
Mephistopheles  summons  the  sirens,  who  lure  Faust  with  all 
their  charms.  Faust  seizes  the  Sacred  Volume,  and  declares 
that  he  relies  upon  its  word  for  salvation.  He  prays  for  help 
against  the  demon.  His  prayer  is  answered;  and  as  he  dies 
a  shower  of  roses  falls  upon  his  body.  The  tempter  dis- 
appears, and  the  finale  of  the  prologue,  repeated,  announces 
Faust  has  died  in  salvation. 

The  opera  as  a  whole  is  episodical  in  its  dramatic  construc- 
tion, and  the  music  is  a  mixture  of  two  styles,  —  the  Wagnerian 
and  the  conventional  Italian;  but  its  orchestration  is  bold 
and  independent  in  character,  and  the  voice-parts  are  very 
striking  in  their  adaptation  to  the  dramatic  requirements. 


Marie  Roze  as  Helen 


BRETON   (TOMAS) 

La  Dolores 

THE  fame  of  Tomas  Breton^  the  most  eminent  of  living 
Spanish  composers^  rests  principally  upon  his  lyric 
dramas,  the  only  one  of  whicli  known  in  this  country  is  "  La 
Dolores/'  first  produced  in  Madrid  in  1895,  and  in  this  country 
in  1909. 

The  libretto  was  written  by  the  composer  himself,  and  the 
opera  is  divided  into  three  acts,  the  scene  being  laid  in  Aragon, 
and  the  time  the  present.  Its  atmosphere  is  Spanish  through- 
out, as  will  be  seen  by  the  story  and  the  dramatis  personce, 
which  include  Dolores,  the  heroine;  Gaspara,  an  innkeeper; 
Lazaro,  her  son;  Celemino,  the  tenor;  Melchior,  a  barber; 
Patrizio,  baritone;  Rojas,  a  sergeant;  and  the  muleteer,  a 
second  tenor. 

The  first  act  opens  in  the  market-place  of  Calatayud  where 
Patrizio  and  Celemino  are  seated  at  a  table  before  Gaspara's 
inn,  discoursing  of  Dolores,  whom  Patrizio  wishes  to  marry. 
A  troop  of  soldiers  enter,  headed  by  Rojas,  who  is  also  in 
love  with  Dolores,  but  the  latter  as  she  brings  wine  flouts 
them  both.  Meanwhile,  Lazaro,  who  is  being  educated  for 
the  church,  and  who  is  secretly  in  love  with  Dolores,  comes 
with  a  message  to  her  from  his  mother.  Next  enters  Melchior, 
the  barber,  who  has  seduced  Dolores  and  is  about  to  marry 
another.  She  pleads  with  him  to  restore  her  honor,  only  to 
be  insulted  by  him. 

The  second  act  opens  in  the  courtyard  of  the  inn,  with  a 
song  by  Lazaro,  describing  his  hopeless  passion  for  Dolores. 
Patrizio,  Rojas,  and  Celemino  next  come  upon  the  scene. 
Patrizio  is  drunk  and  quarrelsome,  and  Rojas  boastful  about 


50  THE    STANDARD    OPERAS 

his  exploits  in  the  bull  ring.  Melchior  appears  and  boasts 
his  love  for  Dolores.  After  these  have  departed,  Lazaro 
enters  and  declares  his  passion  to  Dolores.  The  people  gather 
for  the  bull  fight,  Celemino  among  them,  who  jeers  at  Lazaro, 
receiving  a  blow  in  return.  The  story  of  the  fight  is  then 
told,  how  Rojas  was  getting  the  worst  of  the  encounter,  when 
Lazaro  sprang  into  the  arena  and  killed  the  bull  —  an  exploit 
which  secures  him  Dolores'  promise  of  love. 

The  third  act  is  laid  in  a  room  in  the  inn.  Lazaro  is 
chanting  the  litany,  after  which  Dolores  tells  him  he  must 
not  come  to  her  room  that  evening.  Celemino  informs  Lazaro 
of  Melchior's  boast  about  Dolores,  to  which,  however,  he 
pays  no  heed.  Afraid  of  Melchior's  designs,  Dolores  asks 
Patrizio  and  Rojas  to  come  to  her  room,  after  she  has  told 
Lazaro's  mother  of  her  love  for  him.  Melchior  at  last  enters 
her  apartment  and  insults  her.  The  furious  Lazaro  bursts 
in  and  attacks  Melchior,  and  in  the  struggle  both  fall  through 
the  window.  Lazaro  returns  with  the  intention  of  killing 
Dolores  also,  but  has  hardly  locked  the  door  when  Celemino, 
Patrizio,  and  Rojas  demand  admission.  Dolores  refuses  to 
unlock  the  door,  but  they  break  the  door  and  inquire  what 
has  happened.  Dolores  replies  that  Melchior  insulted  her  and 
she  has  killed  him.  Lazaro  exclaims  that  Dolores  is  an  impure 
woman  and  made  so  by  Melchior,  and  that  he  himself  has 
killed  him. 

It  will  be  seen  that  the  action  is  melodramatic  and  the 
atmosphere  Spanish  throughout.  The  music  is  spirited,  dra- 
matic, and  full  of  local  color.  The  prominent  numbers  are 
the  muleteer's  song,  the  soldier's  song  by  Sergeant  Rojas,  the 
chorus  of  Rondalla,  and  the  Jota,  a  national  dance  of  Aragon, 
with  couplets,  in  the  first  act;  the  madrigal  by  Lazaro,  and 
the  Toreador  song  by  Rojas,  and  the  bull  fight  description  in 
the  second  act,  which  is  suggestive  of  the  similar  scene  in 
"  Carmen,"  though  it  does  not  imitate  Bizet's  music ;  and  the 
impressive  litany  and  descriptive  accompaniment  of  the  tragic 
finale,  in  the  third  act. 


BRUNEAU    (ALFRED) 

L'Attaque  du  Moulin 

BRUNEAU'S  opera,  "  L'Attaque  du  Moulin,"  was  first  pro- 
duced at  the  Paris  Opera  Comique  November  23,  1893, 
and  in  this  country  in  1908.  The  libretto,  by  Louis  Gallet,  is 
based  upon  one  of  Zola's  stories  in  his  "  Soirees  de  Medan." 
Zola  indeed  furnished  Bruneau  with  many  librettos,  that  of 
"  L'Attaque  du  Moulin  "  being  the  last  one  used  by  Bruneau 
which  was  not  written  by  his  friend.  The  original  story 
dealt  with  an  episode  in  the  Franco-Prussian  War,  but  for 
certain  State  reasons  the  story  was  referred  back  to  the  war 
of  1792.  Bruneau's  earlier  operas  met  with  little  success  in 
Paris  because  of  his  ardent  espousal  of  the  cause  of  Zola 
in  the  Dreyfus  affair  and  some  of  them  were  banished  from 
the  stage.  "  L'Attaque  du  Moulin  "  itself  was  not  successful 
at  first,  from  musical  rather  than  political  reasons,  however, 
but  it  gradually  overcame  Parisian  prejudice  and  the  attacks 
of  critics  and  established  itself  in  favor. 

The  first  act  opens  with  the  preparations  for  the  marriage 
of  Fran^oise,  daughter  of  Merlier,  the  miller,  to  Dominique, 
a  native  of  Flanders,  but  in  the  midst  of  the  festivities  the 
town  crier  announces  the  declaration  of  war. 

The  opening  of  the  second  act  discloses  the  mill  under  at- 
tack by  the  enemy  and  its  capture.  Dominique  is  taken 
prisoner  but  is  offered  his  life  upon  condition  that  he  will 
guide  the  enemy's  troops  to  a  certain  position  of  strategic 
importance.  He  refuses  and  is  left  a  prisoner  in  the  mill. 
Fran9oise  finds  her  way  to  him,  gives  him  a  knife,  and  tells 
him  to  make  his  escape  while  she  engages  the  attention  of 
the  sentinel. 


52  THE    STANDARD    OPERAS 

In  the  third  act  Dominique  kills  the  sentinel  and  escapes 
into  the  forest.  Thereupon  Merlier,  the  miller^  is  summoned 
by  the  enemy's  commander  and  notified  that  unless  he  re- 
veals the  hiding-place  of  Dominique  he  will  be  shot  in  his 
stead. 

The  opening  of  the  fourth  act  shows  Dominique  returning 
by  stealth  to  the  mill,  where  he  is  told  by  Merlier  that  he  has 
been  pardoned,  which  is  untrue,  and  is  sent  by  him  to  hurry 
the  advance  of  the  French  troops.  The  enemy  is  repulsed, 
but  before  the  mill  is  given  up,  Merlier  is  shot  before  the 
eyes  of  Fran9oise  just  as  Dominique  enters  at  the  head  of 
the  victorious  French. 

The  story  is  but  an  episode,  and  the  music  itself  is  some- 
what episodical.  Bruneau  was  at  one  time  looked  upon  as 
Wagner's  successor,  though  his  earlier  works  did  not  show 
that  feeling  for  melody  or  skill  in  orchestral  treatment  which 
entitled  him  to  wear  Wagner's  mantle.  In  fact,  in  those 
operas,  as  well  as  in  "  L'Attaque  du  Moulin,"  he  seems  to 
have  a  contempt  for  musical  beauty.  All  rules  of  harmony 
are  disregarded  and  dissonances  are  freely  used,  which  led 
the  conservative  French  critics  to  declare  that  his  music  was 
all  noise  and  confusion.  In  the  opera  under  consideration  the 
points  in  which  he  resembles  Wagner  are  the  continuous 
melodic  recitatives  and  the  individual  use  of  voices.  In 
"  L'Attaque  du  Moulin,"  however,  he  relaxes  considerably 
from  his  former  style  and  is  much  less  severe  in  his  treat- 
ment of  voices,  even  allowing  them  to  sing  together  occasion- 
ally, and  yet  hardly  reaching  what  might  be  called  conventional 
melody.  His  purpose  in  this,  as  in  his  other  operas,  is  evi- 
dently to  express  details  of  action  and  emotional  traits  in  his 
music.  In  an  article  written  by  himself  he  defines  the  "  lyrical 
drama  "  in  a  manner  which  may  sufficiently  explain  "  L'Attaque 
du  Moulin."  "  It  is  music  uniting  itself,"  he  says,  "  inti- 
mately to  the  poetrj'^  in  order  to  impart  life,  movement, 
passionate  interest  to  a  human  action,  the  course  of  which 
must  run  uninterruptedly  from  the  rising  of  the  curtain  to 
the  last  scene."  And  again,  "  the  orchestra  comments  upon 
the  inward  thoughts  of  the  different  characters,  makes  known 


BRUNEAU  53 

the  reasons  that  cause  them  to  act,  and  whilst  depicting  their 
natures,  magically  evokes  before  our  eyes  the  subtle  and 
fabulous  scenes  dreamed  of  by  our  fancy."  In  other  words, 
he  is  seeking  for  infinite  melody  as  the  basis  of  realism  in 
music. 


CATALANI   (ALFREDO) 

La  Wally  » 

ALFREDO  CATALANI,  the  Italian  opera  composer, 
although  he  died  seventeen  years  ago,  in  his  fifty-sixth 
year,  and  for  many  years  was  well  known  in  Italy,  has  but 
recently  been  discovered  in  this  country.  His  best-known 
opera,  "La  Wally,"  was  brought  out  in  ^lilan  in  1892,  and 
was  first  produced  in  this  country  in  1908.  The  book,  by  the 
well-known  Italian  librettist,  Luigi  Illica,  is  based  upon 
"  Geyer-Wally,"  a  German  novel,  written  by  the  Baroness 
Wilhelmine  Von  Hillern  in  1873.  The  action  takes  place  in 
the  Tyrolean  Alps  early  in  the  nineteenth  century,  and  is 
distributed  over  four  acts. 

The  first  act  opens  at  the  village  of  Hochstoff,  outside  of 
the  hut  of  Stromminger,  the  hunter,  where  his  friends  are 
celebrating  his  seventieth  birthday.  One  of  these  friends  is 
Gellner,  a  noted  marksman,  who  has  a  quarrel  with  Hagenbach, 
a  rival  marksman  from  another  village.  The  latter  is  also  a 
rival  for  the  hand  of  Wally,  Stromminger's  daughter.  When 
the  hunter  discovers  this,  he  becomes  infuriated  and  promises 
his  daughter  to  Gellner;  when  she  refuses  to  obey  her  father, 
he  turns  her  out  of  doors. 

In  the  second  act  Stromminger  has  died  and  Wally  has 
inherited  his  wealth,  but  will  not  think  of  marriage.  The 
two  rivals  appear  upon  the  scene  and  Hagenbach  flirts  with 
Afra,  the  innkeeper's  daughter.  This  so  enrages  Wally  that 
she  insults  her,  whereupon  Hagenbach  consoles  Afra  by  tell- 
ing her  he  will  force  Wally  to  give  him  a  kiss,  which  he 
accomplishes  by  asking  it  as  the  prize  of  a  dance.  The  spec- 
tators, who  are  aware  of  the  scheme,  jeer  at  Wally,  who  then 
turns  to  Gellner  and  demands  that  he  shall  kill  Hagenbach. 


CATALANI  66 

In  the  third  act  GeJlner  meets  Hagenbach  in  a  dark  place 
and  pushes  him  over  a  precipice.  Thereupon  the  fickle  Wally, 
overcome  by  remorse,  climbs  down  the  descent  and  helps 
to  rescue  Hagenbach. 

The  fourth  act  finds  Wally  in  a  lonely  mountain  hut. 
Hagenbach  appears  and  declares  his  love  for  her.  Wally 
now  finds  herself  violently  in  love  with  him,  and  the  two 
become  so  absorbed  with  their  passion  that  they  do  not  no- 
tice the  approach  of  a  violent  storm.  Hagenbach  on  his 
way  down  the  mountain  is  killed  by  an  avalanche  and  Wally 
meets  her  fate  by  hurling  herself  over  the  precipice. 

The  story  has  ample  opportunities  for  melodramatic  music 
and  Catalani  has  improved  them.  It  is  theatrical,  however, 
rather  than  lyric  in  these  opportunities  and  yet  the  composer 
has  enriched  his  score  with  many  melodic  beauties  and  with 
much  vivacious  dramatic  music  as  well  as  charming  orches- 
tration. The  weakest  spot  in  the  opera  perhaps  is  the  one 
which  should  have  been  the  strongest,  namely,  the  Kiss  dance. 
It  is  hardly  above  the  commonplace,  especially  when  com- 
pared with  any  of  the  efforts  of  the  Viennese  light  opera 
composers  in  that  direction.  The  most  effective  passages  in 
the  opera  are  the  Edelweiss  song  by  Walter,  Hagenbach's 
Hunting  song,  and  Wally's  song  in  the  finale  of  the  first  act; 
the  duet  between  Gellner  and  Wally  in  the  second  act  in  which 
he  pleads  his  cause  and  after  he  is  repulsed  tells  Wally  that 
Hagenbach  will  soon  wed  Af ra ;  the  recurrence  in  the  third 
act  of  the  music  heard  at  the  close  of  the  first;  and  the  song 
for  Walter  and  final  duet  in  the  fourth  act  preceding  the 
tragedy. 


CHARPENTIER   (GUST AVE) 

Louise 

CHARPENTIER'S  "  Louise/'  an  opera  in  four  acts, 
libretto  by  the  composer,  was  first  produced  in  Paris 
in  1900  and  in  this  country  in  1909.  The  story  is  a  simple 
one.  Its  background  is  the  life  of  the  gay  city  of  Paris,  and 
in  detail  the  stirring  scenes  of  Montmartre,  the  home  of  the 
composer,  which  he  has  portrayed  most  realistically  in  others 
of  his  works.  It  is  first  and  last  a  story  of  Paris  life,  like 
Puccini's  "  La  Boheme,"  and  deals  with  the  same  fascinating 
material.  Naturally  such  a  work  met  with  its  most  enthusi- 
astic greeting  at  the  hands  of  Parisians  to  whom  every  scene 
was  familiar,  but  notwithstanding  its  lack  of  scope  and  its 
local  color  it  has  commended  itself  elsewhere  by  reason  of  its 
human  quality  and  effective  musical  treatment,  and  especially 
its  orchestral  expression.  The  plot  is  very  simple  and  turns 
upon  the  breaking  of  home  ties  in  a  tragic  way  by  Louise, 
with  the  accompaniments  of  the  Paris  street  life  and  the 
revels  of  Montmartre.  Its  characters  also  are  few,  including 
only  Louise,  her  father  and  mother,  her  Bohemian  poet  lover 
Julien,  an  errand  girl,  and  the  King  of  the  Fools  in  the 
revels,  with  pedlers,  working  people,  grisettes,  and  Bohemians 
filling  in  the  background. 

In  the  first  act,  which  transpires  in  the  garret  home  of 
Louise,  it  is  disclosed  that  Louise  is  in  love  with  Julien,  the 
Bohemian  poet,  whose  manner  of  life  does  not  commend  itself 
to  her  parents.  He  has  written  to  them,  but  his  letter  has 
not  been  acknowledged.  Louise  informs  her  lover  of  this  and 
advises  him  to  write  a  second  letter,  promising  to  run  away 
with  him  if  it  is  rejected.     The  second  letter  comes.     The 


Mary  Garden  as  Louise 

Copyright,  Matzene 


CHARPENTIER  57 

father  is  somewhat  more  lenient,  but  the  mother  grows  more 
bitter. 

In  the  second  act  Julien  among  his  boon  companions  in 
Montmartre  meets  Louise  and  inquires  the  fate  of  his  second 
letter.  She  informs  him  it  is  unfavorable.  He  reminds  her 
of  her  promise  and  begs  her  to  fly  with  him,  but  she  refuses, 
fearful  of  the  effect  it  might  have  upon  her  father.  The 
next  scene  shows  Louise  at  work  with  other  girls  in  a  sewing 
room.  In  the  courtyard  below  Julien  and  his  comrades 
serenade  her.  The  girls  at  first  are  delighted  with  the 
serenade,  but  at  last,  getting  tired  of  it,  they  abuse  him. 
Louise,  overcome  by  her  emotions,  pleads  illness,  leaves  the 
shop,  and  her  companions  see  her  going  away  with  her  lover. 

The  third  act  finds  Louise  and  Julien  living  together  at 
Montmartre.  Their  friends  come  to  their  cottage  to  crown 
her  as  the  Muse  of  Montmartre  and  decorate  the  house.  She 
receives  a  black  and  silver  shawl,  the  symbol  of  her  office, 
and  the  revel  begins  with  gay  songs  and  dances.  In  the 
midst  of  the  ceremonies  Louise's  mother  appears,  and  when 
alone  with  her  and  Julien,  informs  her  that  her  father  is 
dying,  and  that  Louise's  return  may  save  him.  She  promises 
Julien  that  no  restraint  shall  be  placed  upon  her  and  at  last 
he  consents  to  her  departure. 

In  the  last  act  Louise  is  at  home.  Her  father  upbraids 
her  for  her  unfilial  conduct  and  begs  her  to  love  him  as  she 
used  to  do.  But  Louise  grows  bitter  and  complains  that 
having  been  promised  her  liberty  she  is  kept  a  prisoner. 
The  parents  plead  with  her,  but  to  no  purpose,  and  at  last 
she  calls  for  Julien  to  come  to  her,  saying  all  she  wants  is 
Julien  and  Paris.  The  father  in  a  rage  opens  the  door  and 
bids  her  begone.  She  rushes  out  with  a  wild  cry.  The  father 
goes  to  the  window  and  implores  her  to  return,  but  it  is  too 
late.  Shaking  his  fist  at  the  city,  he  exclaims,  "  Oh !  Paris," 
and  the  curtain  falls  upon  the  homely  tragedy. 

The  music  of  this  extraordinary  lyric  picture  of  Paris  life 
is  realistic  in  the  highest  degree,  wonderfully  expressive  of 
traits  of  eh<aracter  and  Parisian  street  life,  poetic  in  its  feel- 
ing,  and   effective   in   dramatic   skill   and   rich  orchestration. 


58  THE    STANDARD    OPERAS 

Its  striking  numbers  are  Julien's  love  song  in  the  first  act; 
his  serenade  in  the  second  act;  the  duet  of  Julien  and  Louise, 
"  Paris,  City  of  Strength,"  the  farandole,  address  of  the 
King  of  Fools,  and  the  ragman's  sombre  song  in  the  third  act; 
the  father's  lullaby  and  the  duet  between  him  and  his 
daughter  and  the  succeeding  climax  in  the  fourth  act,  as  well 
as  the  workroom  chorus,  the  chorus  of  the  Bohemians,  and  the 
street  cries  which  help  fill  in  the  musical  picture. 


CHERUBlNI    (MARIE    LUIGI) 

The  Water  Carrier 

LES  deux  Journees,"  popularly  known  in  England  and 
in  this  country  as  "  The  Water  Carrier,"  opera  comique 
in  three  acts,  text  by  Bouilly,  was  first  produced  in  Paris, 
January  16,  1800.  The  first  scene  opens  at  the  house  of 
Michele,  a  water  carrier  of  Paris,  whose  son,  Antonio,  is 
about  to  wed  Angeline,  a  young  peasant  lass  living  at  Genesse. 
Michele  has  a  daughter,  Marcelline,  and  from  motives  of 
gratitude  for  past  benefits  is  interested  in  a  Count  Armand, 
who  is  persecuted  by  Cardinal  Mazarin.  The  city  gates  are 
watched  so  that  he  shall  not  escape,  and  no  one  is  allowed 
to  leave  without  a  pass.  As  Michele  has  passes  for  his  son 
and  daughter,  he  devises  a  plan  for  the  escape  of  Armand 
and  his  wife  Costanza.  He  induces  Marcelline  to  give  up 
going  to  her  brother's  wedding  and  arranges  that  Costanza 
shall  personate  her  and  get  out  of  the  city,  escorted  by 
Antonio.  Costanza  effects  her  departure  with  little  trouble, 
and  then  Michele  has  to  arrange  the  union  of  Armand  with 
his  wife.  The  Count  is  carried  past  the  gates  in  Michele's 
water-barrel,  but  at  one  time  during  the  trip  he  has  to  hide 
in  a  hollow  tree.  When  the  coast  is  clear  it  is  planned  that 
Costanza  shall  clap  her  hands  thrice  as  a  signal  to  her  hus- 
band. Soldiers,  however,  concealed  among  the  rocks,  seize 
Costanza,  whereupon  Armand  rushes  to  her  rescue  and  con- 
fronts her  assailants  with  a  brace  of  pistols.  As  the  murder 
now  is  out,  Armand  proclaims  himself,  and  is  about  to  be 
carried  away  when  Michele  comes  forward  with  the  news  that 
the  persecution  has  ceased  and  that  the  Count's  title,  estates, 
and  liberty  are  restored  to  him. 


60  THE    STANDARD    OPERAS 

The  principal  numbers  in  the  first  act  are  the  romanza 
for  Antonio  ("  Da  Casa  il  Princo,  mio  Signor  ")  ;  the  aria 
("  Deh  so  m'  ascolti  ")  in  Michele's  couplet;  the  aria  for 
Costanza  ("  No  se  donessi  "),  and  the  trio  for  Armand,  Cos- 
tanza,  and  Michele  ("  O  mio  Liberator  "),  one  of  the  most 
beautiful  numbers  in  the  opera,  followed  by  a  charming  duet 
for  Armand  and  Costanza.  The  second  act  opens  with  an 
intensely  dramatic  ensemble  for  Costanzo,  Antonio,  and  the 
soldiers  ("  Via !  cedete  uU'  Evidenza  "),  which  is  one  of  those 
masterpieces  in  dramatic  writing  for  which  Cherubini  was 
famous.  The  trio  in  the  finale  of  this  act,  with  its  effective 
march,  is  also  very  dramatic.  The  conspicuous  numbers  of 
the  last  act  are  the  Wedding  Chorus  ("La  Pastorella "), 
which  is  full  of  rustic  color  and  freshness,  and  merges  into 
a  picturesque  soldiers'  chorus  ("  Nulla  Pieta  de  omai  "),  the 
finale  of  the  act  reaching  its  climax  in  a  brilliant  quartet  and 
double  chorus. 

"  Les  deux  Journees  "  is  designated  by  some  writers  as 
grand  opera,  but  from  its  general  character  and  especially 
from  the  use  of  spoken  dialogue  it  is  more  correct  to  class 
it  as  opera  comique.  It  is  a  work  characterized  by  simplicity 
in  treatment  and  absence  of  all  sensation,  great  dignity,  and 
strong  dramatic  effect,  and  by  exceedingly  rich  instrumenta- 
tion, although  Cherubini  had  not  the  advantage  of  modern 
resources.  Its  beautiful  overture  is  still  a  frequent  number 
on  orchestral  programmes. 


CONVERSE     (FREDERICK    S.) 

The  Pipe  of  Desire 

"  r  I IHE  Pipe  of  Desire,"  an  opera  in  one  act  by  Frederick 
X  S.  Converse,  libretto  by  George  E.  Barton,  was  first 
performed  in  Boston  in  the  spring  of  1906,  and  again  in 
New  York  by  the  Metropolitan  Opera  House  troupe  in  1910. 
Its  story  is  symbolic  and  in  a  certain  sense  philosophical.  In 
a  word,  it  is  the  old  story  of  free  will  and  fate.  The  char- 
acters are  few,  including  only  a  peasant,  lolan,  his  betrothed, 
Naoia,  and  the  Old  One,  who  is  the  King  of  the  elves  and 
the  sylphs,  and  keeper  of  the  Pipe  of  Desire,  which  is  the 
symbol  of  unchangeable  law. 

The  curtain  rises  upon  a  glade  in  springtime  in  which  the 
sylphs  and  elves  are  engaged  in  the  service  of  the  Old  One, 
their  King.  lolan,  the  peasant,  makes  his  appearance.  He 
has  returned  from  a  successful  quest  for  fortune  that  he 
may  marry  Naoia.  He  enters  singing  an  exultant  strain  to 
which  the  elves  make  response.  The  Old  One  reminds  them 
this  is  forbidden,  but  they  protest  they  have  the  privilege,  as 
it  is  the  first  day  of  Spring.  As  lolan  hears  their  call  he 
invites  them  to  his  wedding.  Observing  the  Old  One  with 
the  pipe  hanging  from  his  neck,  he  asks  what  it  is  for,  and 
upon  being  told  that  it  signifies  the  sceptre  of  the  world,  he 
laughs  at  them  and  declares  it  is  only  fit  for  the  dance.  The 
elves,  availing  themselves  of  their  privilege,  call  for  the  dance, 
but  the  Old  One,  knowing  the  penalty  which  must  follow, 
entreats  them  to  wait  until  lolan  has  gone.  They  decline  to 
do  so  and  he  plays  the  Dance  of  Spring.  lolan  mocks  the 
power  of  the  pipe,  but  they  tell  him  it  can  make  him  dance 
also.     They  demand  that  the  Old  One  shall  play  again.     He 


62  THE    STANDARD    OPERAS 

does  so  and  lolan  is  forced  to  dance.  Infuriated,  he  snatches 
the  pipe  and  plays  it  himself  to  make  the  Old  One  dance. 
He  produces  only  most  discordant  sounds,  however.  Then  he 
expresses  the  desire  that  the  pipe  shall  play  the  emotions  in 
his  own  heart.  He  sees  the  object  of  his  desire  and  calls 
upon  Naoia  to  meet  him  in  the  forest.  The  Old  One  warns 
him  of  the  penalty,  but  he  plays  again  and  this  time  sees 
Naoia  desperately  ill  in  her  cottage.  He  also  sees  her  listen- 
ing to  his  call,  rising  from  her  bed  in  delirium,  searching 
for  him  in  the  forest,  and  at  last  falling  and  dying  from 
fatigue  and  exposure.  He  throws  away  the  pipe  and  curses 
God,  but  the  Old  One  reminds  him  it  was  his  own  and  not 
God's  will  which  has  brought  about  this  sorrow.  His  anger 
then  turns  to  remorse  and  regret.  In  pity,  the  elves  implore 
the  Old  One  to  play  the  song  of  Autumn  and  Winter.  As 
he  does  so,  lolan  feels  himself  growing  old  and  overtaken  by 
the  chill  of  death.  In  his  last  moment  he  sees  the  vision  of 
Naoia  waiting  above  for  him  to  come  to  her.  He  hastens  to 
meet  her  and  begins  the  new  life. 

The  music  of  the  opera  is  Wagnerian,  so  far  as  the  use  of 
motives  is  concerned,  four  of  them  being  employed,  the  first 
representing  the  pipe;  the  second,  unchanging  law;  the 
third,  lolan;  and  the  fourth  his  love  feeling  for  Naoia.  It 
is  also  distinctly  modern  in  the  absence  of  set  form  and  lyric 
numbers.  Its  strongest  effects  are  in  the  choruses  and  or- 
chestral coloring. 

The  Sacrifice 

"  The  Sacrifice,"  Mr.  Converse's  second  opera,  was  first 
produced  in  Boston,  March  3,  1911.  Like  all  other  recent 
American  operas,  its  scene  is  laid  in  the  wild  West.  Captain 
Burton,  an  American  officer,  is  in  love  with  Chonita,  a  Mexican 
beauty,  who  in  turn  is  in  love  with  Bernal,  a  Mexican  officer. 
She  cannot,  however,  avoid  Burton's  attentions,  as  he  is  pro- 
tecting her  home.  Chonita's  servant,  Tomasa,  hates  the 
Americans,  as  she  is  certain  they  will  conquer  in  the  end. 
In  the  meantime  the  jealous  Bernal  attacks   Burton  and  is 


CONVERSE  63 

wounded.  During  the  assault  Chonita  throws  herself  between 
the  two  and  is  accidentally  injured  by  Burton's  sword. 
Bernal  is  held  as  a  prisoner,  and  Burton  has  an  opportunity 
to  give  him  up  to  be  shot  as  a  spy,  but,  to  show  his  love 
for  Chonita  and  his  sense  of  honor,  he  throws  down  his  sword 
in  a  sudden  attack  by  Mexicans  bent  upon  rescuing  Bernal 
and  allows  himself  to  be  killed.  Much  to  Tomasa's  delight, 
of  course,  the  lovers  are  united. 

The  story  is  very  simple  and  at  the  same  time  very  weak 
for  operatic  purposes.  "  The  music,"  Mr.  Hale,  the  ex- 
cellent critic,  says,  "  if  detached  from  the  text  and  from  the 
stage  might  be  found  to  contain  both  strength  and  sweetness." 
The  really  effective  numbers  are  Chonita's  prayer,  the  sol- 
diers' scene,  the  dance  chorus  in  the  second,  and  the  love 
duet  in  the  third  act.  Both  Mr.  Converse's  operas  are  mainly 
important  as  marking  steps  in  the  progress  of  American  com- 
posers in  the  operatic  world,  as  illustrated  recently  in  the 
production  of  works  by  Victor  Herbert  and  Horatio  Parker, 
ske;tches  of  which  appear  elsewhere  in  this  volume. 


DEBUSSY   (CLAUDE    ACHILLE) 

Pelleas  and  Melisande 

THE  "  opera  "  of  "  Pelleas  and  M61isande  "  is  not  an  opera 
in  the  conventional  sense.  It  is  usually  classified  as  a 
"  lyrical  drama/'  but  if  by  this  term  it  is  implied  that  it 
contains  lyrics,  the  classification  is  not  accurate.  Perhaps 
it  would  be  correct  to  call  it  an  impressionist  tone-picture. 
It  is  based  upon  the  drama  of  the  same  name,  written  by 
Maurice  INIaeterlinck  in  1892  and  first  performed  in  Paris 
in  1893.  Mrs.  Patrick  Campbell  familiarized  American  audi- 
ences with  the  play  in   1902. 

The  musical  setting  of  the  drama  was  first  given  in  Paris 
in  1902  with  Mary  Garden  and  M.  Jean  Perier  in  the  title 
roles.  It  was  heard  in  Brussels  and  Frankfort  in  1907  and 
in  this  country  in  1909.  The  score,  sometimes  called  a  "  revo- 
lutionary score,"  is  arranged  in  five  acts  and  tv/elve  scenes. 
The  libretto  was  adai^ted  by  Debussy  himself,  and  owing  to 
numerous  excisions  provoked  a  bitter  quarrel  between  the 
dramatist  and  composer. 

The  first  act  opens  in  a  forest.  Golaud,  the  hunter,  has 
been  led  astray  by  his  dogs  and  while  trying  to  find  his  way 
meets  Melisande  weeping  by  a  spring.  She  also  has  been 
lost,  but  refuses  to  reveal  her  identity  to  Golaud.  She  is 
weeping  because  she  has  lost  her  crown  in  the  water.  He 
offers  to  recover  it,  but  she  says  she  will  have  no  more  of  it. 
He  at  last  prevails  upon  her  to  leave  the  forest  with  him. 
The  next  scene  reveals  the  castle  where  Golaud,  his  mother 
Genevieve,  his  son  Yniold,  child  of  his  first  wife,  his  half- 
brother  Pelleas,  and  his  old  father  Arkel,  King  of  Allemande, 
reside.  Genevieve  is  reading  a  letter  sent  to  Pelleas  by 
Golaud  in  which  he  announces  his  marriage  to  Melisande  and 


Lilian  Grenville  as  Melisaiide 


DEBUSSY  65 

asks  her  to  intercede  with  Arkel  to  receive  her  as  his  daughter. 
The  intercession  is  favorable.  The  next  scene  shows  Melisande 
and  Genevieve  walking  in  the  gardens,  joined  by  Pelleas. 
The  interview  shows  that  Pelleas  is  in  love  with  Melisande. 

The  second  act  discloses  Pelleas  and  Melisande  sitting  by 
a  fountain  in  the  park.  Melisande  is  playing  with  the  wed- 
ding ring  and  at  last  tosses  it  up  and  it  falls  into  the  water. 
Pelleas  advises  her  to  tell  the  truth  if  Golaud  questions  her 
about  it.  In  the  next  scene  Golaud  has  been  injured  while 
hunting.  Melisande,  while  tending  him,  confesses  she  is  mi- 
happy,  but  does  not  tell  her  husband  why.  When  he  notices 
the  absence  of  the  ring  and  inquires  about  it,  she  declares  she 
lost  it  in  a  grotto  by  the  shore.  He  requests  that  she  and 
Pelleas  shall  go  and  search  for  it.  The  next  scene  reveals 
the  two  in  the  grotto  in  a  state  of  agitation. 

In  the  opening  of  the  third  act  Melisande  is  standing  at 
the  tower  window  singing  and  combing  her  hair.  As  she  leans 
out  to  greet  Pelleas  her  loosened  tresses  fall  about  him.  He 
twines  them  about  his  arm,  threatening  thus  to  hold  her  a 
prisoner  the  night  long.  Golaud  discovers  them  and  his  jeal- 
ousy is  at  last  aroused.  His  suspicions  are  confirmed  by  the 
little  child  Yniold,  who  relates  what  he  has  seen  passing 
between  his  mother  and  uncle. 

In  the  fourth  act  Pelleas,  about  to  travel,  begs  a  meeting 
wuth  Melisande  at  the  fountain,  which  she  grants.  Pelleas 
keeps  his  tryst  and  the  two  exchange  love  vows.  While  em- 
bracing one  another,  Golaud  suddenly  rushes  upon  them  with 
drawn  sword  and  kills  Pelleas.  Melisande  flees  in  terror  pur- 
sued by  Golaud. 

The  last  act  reveals  Melisande  dying.  On  her  deathbed 
she  had  been  delivered  of  a  child,  and  Golaud,  who  had 
sought  to  kill  himself  with  the  same  sword  that  slew  Pelleas, 
is  filled  with  remorse  for  killing  her  without  cause.  She  calls 
for  Golaud  and  confesses  she  had  loved  Pelleas,  but  it  was 
not  a  guilty  love.  The  new-born  babe  is  brought  in  to  her,  but 
she  is  too  weak  to  take  it.  As  she  passes  away  the  servants 
fall  upon  their  knees.  Golaud  sobs  aloud,  but  Arkel  bids 
them  all  go  and  leave  the  dead  mother  with  the  child. 


66  THE    STANDARD    OPERAS 

It  would  be  impossible  to  call  attention  to  this  or  that 
number  or  to  analyze  numbers  where  there  are  none.  The 
listener  will  listen  in  vain  for  melodies.  In  answer  to  his 
critics  at  the  time  of  the  first  performances  Debussy  said, 
"  I  have  been  reproached  because  in  my  score  the  melodic 
phrase  is  always  in  the  orchestra,  never  in  the  voice.  I  tried, 
with  all  my  strength  and  all  my  sincerity,  to  identify  my  music 
with  the  poetical  essence  of  the  drama."  The  result  of  this 
to  the  hearer  untutored  in  impression  is  something  shadowy 
and  mystical,  and  because  it  is  shadowy  and  mystical  through- 
out therefore  it  is  monotonous.  To  appreciate  it  and  enjoy 
it  one  must  not  merely  understand  the  use  of  the  leit-motif 
and  continuous  melody,  but  he  must  have  senses  keenly  at- 
tuned to  the  poetic  significance  of  the  drama  and  a  musical 
knowledge  delicate  enough  to  understand  how  this  poetic  sig- 
nificance is  interpreted  musically.  He  must  abandon  all  con- 
ventional ideas  of  melody,  all  purely  musical  emotion,  all 
symphonic  development  of  orchestration,  and  listen  to  what 
has  been  called  "  sound  wraiths,"  as  so-called  melody  which 
is  intangible,  and  to  many  a  passage  which  is  too  subtle  for 
appreciation.  As  to  the  characters,  they  were  called  by  De- 
bussy's critics  "  stammering  phantoms,"  as  indeed  they  are  in 
most  of  the  "  revolutionary  music."  Would  not  "  Pelleas  and 
Melisande  "  have  been  just  as  effective  if  the  composer  had  left 
voices  out  entirely  and  scored  the  drama  as  he  has  done  his 
"  Prelude  a  I'Apres-midi  d'un  Faune  "  ?  Debussy  is  a  school 
in  himself.  Some  day  the  world  may  come  to  know  him.  It 
is  idle  to  affirm  or  deny  anything  in  these  days  of  musical 
transition. 

Saint  Sebastian 

"  Le  Martyre  de  Saint  Sebastian  "  ("  The  Martyrdom  of 
Saint  Sebastian  "),  text  by  D'Annunzio,  music  by  Debussy, 
Is  a  music  drama  rather  than  an  opera  in  the  full  sense  of  the 
term.  D'Annunzio  intended  it  as  a  kind  of  miracle  play,  and 
as  such  it  has  been  treated  by  Debussy,  the  music  being 
symbolic  and  mystic,  and  sometimes  to  the  general  ear  mean- 


DEBUSSY  67 

ingless.  It  was  first  given  in  Paris,  May  23,  1911,  and  has 
thus  far  been  given  in  this  country  only  in  concert  form, 
February  12,  1912.  In  fact,  it  is  doubtful  -whether  it  will 
ever  become  standard  from  the  operatic  or  dramatic  point 
of  view,  but  because  it  is  the  work  of  a  composer  very 
much  in  the  limelight  of  criticism  in  these  days  it  is  in- 
cluded  in   these   pages. 

This  work  is  divided  into  five  "  mansions,"  the  mediaeval 
synonym  for  acts.  After  a  prelude  typifying  the  Christian 
soul,  the  curtain  rises  and  discloses  two  Christian  maidens 
fettered  to  pillars.  Sebastian,  chief  of  the  archers,  appears 
and  dances  over  a  bed  of  burning  coals,  to  encourage  them. 
After  a  hymn  in  praise  of  martyrdom  and  the  exaltation 
of  the  faith  and  fortitude  of  martyrs,  Sebastian  shoots  an 
arrow  into  the  sky,  and  as  it  does  not  come  down  again  this 
is  accepted  by  the  crowd  as  a  proof  of  his  holiness  and 
ecstatically  proclaimed  by  chorus  and  orchestra.  The  act 
closes  with  a  vision  of  heaven  and  its  angels  singing 
hallelujahs. 

The  second  act  reveals  the  "  Magic  Chamber  "  where  the 
magicians  and  astrologers  perform  their  mystic  arts.  Sebas- 
tian breaks  down  the  door,  and  as  he  enters,  the  music  sym- 
bolizes the  advent  of  Christianity,  and  the  song  of  the  unseen 
Madonna,  borrowed  from  Middle  Age  Italian  music,  is  heard. 
The  third  act  opens  at  the  Roman  Court  and  discloses 
Caesar  receiving  Sebastian,  questioning  him  about  the  new 
faith  and  trying  to  induce  him  to  abandon  it.  A  hymn  to 
Apollo  follows,  and  this  is  succeeded  by  the  symbolizing  of 
Christ's  march  to  Calvary,  which  is  assigned  almost  entirely 
to   the  instruments. 

The  fourth  act  is  mainly  devoted  to  the  martyrdom  of 
Sebastian.  The  Emperor's  satellites  at  first  attempt  to 
smother  him,  but  he  is  saved  by  his  archers.  Then  at  the 
Emperor's  command  he  is  bound  to  a  tree  in  Apollo's  grove 
and  there  he  is  transfixed  by  arrows.  As  his  body  is  re- 
moved the  arrows  disappear  from  it  and  are  found  in  the 
tree.  The  gates  of  heaven  open  and  the  martyr  enters. 
The  last  act,  picturing  paradise,  has  no  spoken  words.     The 


68  THE    STANDARD    OPERAS 

effect  is  produced  by  the  orchestra  and  some  antiphonal 
choruses.  In  fact,  as  in  most  of  Debussy's  work,  the  or- 
chestra sustains  the  vital  part  of  expression  and  description, 
and  in  this  case  it  is  greatly  enlarged,  especially  in  the  wood 
wind  and  horn  section,  the  horns  and  harps  being  specially 
prominent.  Opinions  will  always  differ  about  "  Saint  Se- 
bastian "  as  they  differ  about  "  Pelleas  and  Melisande  "  and 
other  of  Debussy's  compositions.  To  some  they  are  epoch- 
makers;  to  others  they  are  only  flamboyant,  meaningless  dis- 
sonance. This  much,  however,  may  reasonably  be  said:  to 
appreciate  Debussy's  music  requires  a  Debussy  ear  and 
training. 


DELIBES    (LEO) 

Lakme 

THE  romantic  opera,  "  Lakme,"  written  in  1879,  was  first 
performed  in  this  country  by  the  American  Opera  Com- 
pany in  1886,  Mme.  L'Alleraand  taking  the  title  role.  The 
principal  characters  are  Lakme,  daughter  of  Nilakantha,  an 
Indian  priest;  Gerald  and  Frederick,  officers  of  the  British 
Army;  Ellen  and  Rose,  daughters  of  the  Viceroy;  and  Mrs. 
Benson,  governess.  The  scene  is  laid  in  India.  Nilakantha 
cherishes  a  fond  hatred  of  all  foreigners.  The  two  English 
officers,  Gerald  and  Frederick,  accompanied  by  a  bevy  of 
ladies,  intrude  upon  his  sacred  grounds.  They  stroll  about 
and  gradually  retire,  but  Gerald  remains  to  sketch  some 
jewels,  which  Lakme  has  left  upon  a  shrine  while  she  goes 
flower-gathering  with  her  slave  Mallika,  and  evidently  also 
to  await  developments  when  she  returns.  Lakme  soon  ap- 
proaches in  her  boat,  and  there  is  a  desperate  case  of  love 
at  first  sight.  Their  demonstrations  of  affection  are  inter- 
rupted by  the  appearance  of  the  priest,  whose  anger  Gerald 
escapes  by  fleeing,  under  cover  of  a  convenient  thunder- 
storm. In  the  next  act  Lakme  and  her  father  appear  in  the 
public  market-place,  disguised  as  penitents.  He  compels  his 
daughter  to  sing,  hoping  that  her  face  and  voice  will  induce 
her  lover  to  disclose  himself.  The  ruse  proves  successful. 
Nilakantha  waits  his  opportunity,  and  stealing  upon  his 
enemy  stabs  him  in  the  back  and  makes  good  his  escape. 
In  the  third  act  we  find  Gerald  in  a  delightful  jungle,  where 
Lakme  has  in  some  manner  managed  to  conceal  him,  and 
where  she  is  carefully  nursing  him  with  the  hope  of  per- 
manently retaining  his  love.  She  saves  his  life;  but  just  at 
this  juncture,  and  while  she  is  absent  to  obtain  a  draught  of 


70  THE    STANDARD    OPERAS 

the  water  which,  according  to  the  Indian  legend,  will  make 
earthly  love  eternal,  Gerald  hears  the  music  of  his  regiment, 
and  Frederick  appears  and  urges  him  back  to  duty.  His 
allegiance  to  his  queen,  and  possibly  the  remembrance  of  his 
engagement  to  a  young  English  girl,  prove  stronger  than  his 
love  for  Lakme.  The  latter  returns,  discovers  his  faithless- 
ness, gathers  some  poisonous  flowers,  whose  juices  she  drinks, 
and  dies  in  Gerald's  arms  just  as  the  furious  father  appears. 
As  one  victim  is  sufficient  to  appease  the  anger  of  Nilakantha's 
gods,  Gerald  is  allowed  to  go  unharmed. 

The  first  act  opens  with  a  chorus  of  Hindoos,  oriental  in 
its  character,  followed  by  a  duet  between  Lakme  and  her 
father;  the  scene  closing  with  a  sacred  chant.  The  Hindoos 
gone,  there  is  a  charming  oriental  duet  ("  'Neath  yon  Dome 
where  Jasmines  with  the  Roses  are  blooming ")  between 
Lakme  and  her  slave,  which  is  one  of  the  gems  of  the  opera. 
The  English  then  appear  and  have  a  long,  talky  scene,  re- 
lieved by  a  pretty  song  for  Frederick  ("I  would  not  give 
a  Judgment  so  absurd  "),  and  another  for  Gerald  ("  Cheating 
Fancy  coming  to  mislead  me").  As  Lakme  enters,  Gerald 
conceals  himself.  She  lays  her  flowers  at  the  base  of  the 
shrine  and  sings  a  restless  love-song  ("  Why  love  I  thus  to 
stray?").  Gerald  discovers  himself,  and  after  a  colloquy 
sings  his  ardent  love-song  ("  The  God  of  Truth  so  glow- 
ing "),  and  the  act  closes  with  Nilakantha's  threats. 

The  second  act  opens  in  the  market  square,  lively  with 
the  choruses  of  Hindoos,  Chinamen,  fruit  venders,  and 
sailors,  and  later  on  with  the  adventures  of  the  English  party 
in  the  crowd.  Nilakantha  appears  and  addresses  his  daughter 
in  a  very  pathetic  aria  ("  Lakme,  thy  soft  Looks  are  over- 
clouded ").  Soon  follows  Lakme's  bell-song  ("  Where  strays 
the  Hindoo  Maiden?"),  a  brilliant  and  highly  embellished 
aria  with  tinkling  accompaniment,  which  will  always  be  a 
favorite.  The  recognition  follows;  and  the  remaining  num- 
bers of  importance  are  an  impassioned  song  by  Gerald  ("  Ah! 
then  'tis  slumbering  Love"),  with  a  mysterious  response  by 
Lakme  ("  In  the  Forest  near  at  Hand  ").  A  ballet,  followed 
by  the  stabbing  of  Gerald,  closes  the  act. 


DELIBES  71 

In  the  third  act  the  action  hastens  to  the  tragic  denoue- 
ment. It  opens  with  a  beautiful  crooning  song  by  Lakme 
("  'Neath  the  Dome  of  Moon  and  Star  ")  as  she  watches  her 
sleeping  lover.  The  remaining  numbers  of  interest  are 
Gerald's  song  ("  Tho'  speechless  I,  my  Heart  remembers  "), 
followed  by  a  pretty  three-part  chorus  in  the  distance  and 
Lakrfie's  dying  measures,  "  To  me  the  fairest  Dream  thou  'st 
given/'  and  "  Farewell,  the  Dream  is  over."  Though  the 
opera  is  monotonous  from  sameness  of  color  and  lack  of 
dramatic  interest,  there  are  many  numbers  which  leave  a 
charming  impression  by  their  grace,  refinement,  and  genuine 
poetical  effect. 


DONIZETTI    (GAETANO) 

The  Daughter  of  the  Regiment 

THE  Daughter  of  the  Regiment  "  ("  La  Fille  du  Regi- 
ment "),  opera  comique  in  two  acts,  words  by  Bayard 
and  St.  Georges,  was  first  produced  at  the  Opera  Comique, 
Paris,  February  11,  1840,  with  Mme.  Anna  Thillon  in  the 
role  of  Marie.  Its  first  performance  in  English  was  at  the 
Surrey  Theatre,  London,  December  21,  1847,  under  the  title 
of  "The  Daughter  of  the  Regiment."  In  1847  it  was  per- 
formed as  an  Italian  opera  in  London,  with  added  recitatives, 
and  with  Jenny  Lind  in  the  leading  part. 

The  music  of  the  opera  is  light  and  sparkling,  the  prin- 
cipal interest  centering  in  the  charming  nature  of  the  story 
and  its  humorous  situations,  which  afford  capital  opportuni- 
ties for  comedy  acting.  The  scene  is  laid  in  the  Tyrol 
during  its  occupation  by  the  French.  Marie,  the  heroine, 
and  the  vivandiere  of  the  Twenty-first  Regiment  of  Napo- 
leon's army,  was  adopted  as  the  Daughter  of  the  Regiment, 
because  she  was  found  on  the  field,  after  a  battle,  by  Ser- 
geant Sulpice.  On  her  person  was  affixed  a  letter  written 
by  her  father  to  the  Marchioness  of  Berkenfeld,  which  has 
been  carefully  preserved  by  the  Sergeant.  At  the  begin- 
ning of  the  opera  the  little  waif  has  grown  into  a  sprightly 
young  woman,  full  of  mischief  and  spirit,  as  is  shown  by  her 
opening  song  ("The  Camp  was  my  Birthplace"),  in  which 
she  tells  the  story  of  her  life,  and  by  the  duet  with  Sulpice, 
known  as  "  The  Rataplan,"  which  is  of  a  very  animated, 
stirring,  and  martial  character,  to  the  accompaniment  of  rat- 
tling drums  and  sonorous  brasses.  She  is  the  special  ad- 
miration of  Tony,  a  Tyrolean  peasant,  who  has   saved  her 


Jenny  Lind  as  Marie 


DONIZETTI  73 

from  falling  over  a  precipice.  The  soldiers  of  the  regiment 
are  profuse  in  their  gratitude  to  her  deliverer,  and  celebrate 
her  rescue  with  ample  potations,  during  which  Marie  sings 
the  Song  of  the  Regiment  ("All  Men  confess  it").  Poor 
Tony,  however,  who  was  found  strolling  in  the  camp,  is  placed 
under  arrest  as  a  spy,  though  he  succeeds  in  obtaining  an 
interview  with  Marie  and  declares  his  love  for  her.  The 
declaration  is  folloM'cd  by  a  charming  duet  ("  No  longer  can 
I  doubt  it  ").  Tony  manages  to  clear  up  his  record,  and  the 
soldiers  decide  that  he  may  have  Marie's  hand  if  he  will  con- 
sent to  join  them.  He  blithely  accepts  the  condition  and 
dons  the  French  cockade.  Everything  seems  auspicious,  when 
suddenly  the  Marchioness  of  Berkenfeld  appears  and  dashes 
Tony's  hopes  to  the  ground.  The  Sergeant,  as  in  honor 
bound,  delivers  the  letter  he  has  been  preserving.  After  read- 
ing it  she  claims  Marie  as  her  niece,  and  demands  that  the 
regiment  shall  give  up  its  daughter,  while  Tony  is  inconti- 
nently dismissed  as  an  unsuitable  person  to  be  connected  in 
any  capacity  with  her  noble  family.  Marie  sings  a  touching 
adieu  to  her  comrades  ("  Farewell,  a  long  Farewell  "),  and 
the  act  closes  with  smothered  imprecations  on  the  Marchioness 
by  the  soldiers,  and  protestations  of  undying  love  by  Tony. 
The  second  act  opens  in  the  castle  of  Berkenfeld,  where 
Marie  is  duly  installed,  though  she  does  not  take  very  kindly 
to  her  change  of  surroundings.  The  old  Sergeant  is  with 
her.  Grand  company  is  expected,  and  the  Marchioness  de- 
sires Marie  to  rehearse  a  romance,  "  The  Light  of  early  Day 
was  breaking,"  which  she  is  to  sing  to  them.  Before  she 
finishes  it  she  and  the  Sergeant  break  out  into  the  rollicking 
Rataplan  and  go  through  with  the  military  evolutions,  to  the 
horror  of  the  Marchioness.  While  regret  for  the  absent  Tony 
keeps  her  in  a  sad  mood,  she  is  suddenly  cheered  up  by  the 
sound  of  drums  and  fifes,  announcing  the  approach  of  soldiers. 
They  are  the  gallant  Twenty-first,  with  Tony,  now  a  colonel, 
at  their  head.  He  sues  once  more  for  Marie's  hand.  The 
soldiers  also  put  in  a  spirited  choral  appeal,  "  We  have  come, 
our  Child  to  free."  The  Marchioness  again  refuses.  Tony 
proposes  an  elopement,  to  which  Marie,  in  resentment  at  her 


74!  THE    STANDARD    OPERAS 

aunt's  cruelty,  consents.  To  thwart  their  plans,  the  Mar- 
chioness reveals  to  Marie  that  early  in  life  she  had  been 
secretly  married  to  an  officer  of  lower  family  position  than 
her  own,  and  that  this  officer  was  Marie's  father.  Unable  to 
dispute  the  wishes  of  her  mother,  she  renounces  Tony  in  an 
agony  of  grief.  At  last  Marie's  sorrow  arouses  old  associa- 
tions in  the  mind  of  the  Marchioness,  and  she  consents  to  the 
union  of  Tony  and  Marie. 

While  the  music  of  the  opera  is  light,  it  is  none  the  less 
very  attractive.  The  role  of  the  heroine,  small  as  it  is,  was 
a  favorite  one  with  such  great  artists  as  Jenny  Lind,  Patti, 
Sontag,  and  Albani,  while  in  this  country  Miss  Kellogg  and 
Mrs.  Richings-Bernard  made  great  successes  in  the  part.  The 
latter  singer,  indeed,  and  her  father,  whose  personation  of  the 
Sergeant  was  very  remarkable,  were  among  the  first  to  per- 
form the  work  in  the  United  States. 


La  Favorita 

"  La  Favorita,"  grand  opera  in  four  acts,  words  by  Royer 
and  Waetz,  the  subject  taken  from  the  French  drama,  "  Le 
Comte  de  Commingues,"  was  first  produced  at  the  Academic, 
Paris,  Decembers,  1840,  with  Mme.  Stolz  as  Leonora,  Duprez 
as  Fernando,  and  Baroelhst  as  Balthasar.  Its  success  in  Eng- 
land, where  it  was  first  produced  February  16,  1847,  was 
made  by  Grisi  and  Mario.  The  scene  of  the  opera  is  laid  in 
Spain,  and  the  first  act  opens  in  the  monastery  of  St.  James, 
of  Compostella,  where  the  young  novice,  Fernando,  is  about 
to  take  his  vows.  Before  the  rites  take  place  he  is  seized  with 
a  sudden  passion  for  Leonora,  a  beautiful  maiden  who  has  been 
worshipping  in  the  cloisters.  He  confesses  his  love  to  Bal- 
thasar, the  superior,  who  orders  him  to  leave  the  monastery 
and  go  out  into  the  world.  Leonora,  meanwhile,  is  beloved  by 
Alphonso,  king  of  Castile,  who  has  provided  her  a  secret  re- 
treat on  the  island  of  St.  Leon.  Though  threatened  by  the 
pontiff  with  excommunication,  he  has  resolved  to  repudiate  his 
queen,  in  order  that  he  may  carry  out  his  intention  of  marry- 


DONIZETTI  76 

ing  the  beautiful  Leonora.  To  her  asylum  a  bevy  of  maidens 
conducts  Fernando.  He  declares  his  passion  for  her  and  finds 
it  reciprocated.  He  urges  her  to  fly  with  him,  but  she  declares 
it  impossible,  and,  giving  him  a  commission  in  the  army  signed 
by  the  King,  urges  him  to  go  to  the  wars  and  win  honors  for 
her  sake. 

In  the  second  act  Balthasar,  in  the  name  of  the  pontiff, 
visits  their  retreat  and  pronounces  the  papal  anathema  upon 
the  guilty  pair.  The  same  curse  is  threatened  to  all  the  at- 
tendants unless  Leonora  is  driven  from  the  King,  and  the  act 
closes  with  their  vengeful  menaces. 

In  the  third  act  Fernando  returns  victorious  from  the  war 
with  the  Moors.  Already  beginning  to  fear  the  result  of  the 
papal  malediction,  and  having  learned  of  Leonora's  passion 
for  the  victor,  Alphonso  heaps  rewards  upon  him,  even  to  the 
extent  of  giving  him  Leonora's  hand.  Fernando,  who  is  igno- 
rant of  her  past  relations  to  the  King,  eagerly  accepts  the 
proffer;  but  Leonora,  in  despair,  sends  her  attendant,  Inez, 
to  inform  him  of  the  real  nature  of  the  situation  and  implore 
his  forgiveness.  The  King  intercepts  her,  and  the  marriage 
takes  place  at  once,  Fernando  not  discovering  Leonora's  shame 
until  it  is  revealed  by  the  courtiers,  who  avoid  him.  He  flies 
from  the  world  to  the  monastery  once  more  for  shelter  and 
consolation,  followed  by  Leonora,  who  dies  in  his  arms  after 
she  has  obtained  forgiveness. 

The  music  of  the  work  is  very  dramatic  in  its  character, 
some  of  the  finales  being  the  strongest  Donizetti  has  written. 
In  the  first  act  there  is  a  beautifully  melodious  aria  ("  Una 
Vergine "),  in  which  Fernando  describes  to  Balthasar  the 
vision  of  Leonora  which  had  appeared  to  him  at  his  orisons, 
and  a  tender  duet  ("  Deh,  vanne !  deh,  parti  ")  between  Fer- 
nando and  Leonora,  in  which  they  sorrowfully  part  from  each 
other.  In  the  second  act  the  King  has  a  passionate  aria,  where 
he  curses  his  courtiers  for  leaguing  against  him  at  Rome,  fol- 
lowed by  a  duet  with  Leonora  ("Ah!  1'  alto  Ardor").  The 
third  act  contains  the  beautiful  aria,  "  O  mio  Fernando !  " 
which  is  a  favorite  with  all  contraltos.  It  is  remarkable  for 
its  warmth  and  richness,  as  well  as  its  dramatic  spirit,  and  the 


76  THE    STANDARD    OPERAS 

act  closes  with  a  concerted  finale,  in  which  Fernando  breaks 
his  sword,  and  once  more  Balthasar  anathematizes  the  King. 
The  fourth  act  is  the  most  beautiful  of  all  in  its  music  and  the 
most  powerful  in  dramatic  effect.  The  chorus  of  monks  in 
the  first  scene  ("  Scaviam  1'  asilo  ")  is  remarkable  for  its  re- 
ligious character  and  solemnity.  In  the  third  scene  occurs 
the  melodious  romanza  ("  Spirto  gentil  "),  which  Donizetti 
transferred  to  this  work  from  his  opera,  "  Le  Due  d'Albe," 
which  had  not  been  performed,  the  libretto  of  which  was 
originally  written  by  Scribe  for  Rossini.  The  closing  duet 
between  Fernando  and  Leonora  is  full  of  pathos  and  beauty, 
and  forms  a  fitting  close  to  an  act  which,  in  one  sense  at 
least,  is  an  inspiration,  as  it  was  composed  in  four  hours,  — 
a  proof  of  the  marvellous  ease  and  facility  with  which  Doni- 
zetti wrote. 

Don  Pasquale 

"  Don  Pasquale,"  opera  bouffe  in  three  acts,  was  first  pro- 
duced at  the  Theatre  des  Italiens,  in  Paris,  January  4,  1843, 
with  the  following  extraordinary  cast: 

Norina Mme.  Grisi. 

Ernesto Sig.  Mario. 

Dr.  Malatesta Sig.  Tamburini. 

Don  Pasquale Sig.  Lablache. 

The  scene  of  this  brilliant  and  gay  little  opera  is  laid  in 
Rome.  Don  Pasquale  is  in  a  rage  with  Ernesto,  his  nephew, 
because  he  will  not  marry  to  suit  him.  Dr.  Malatesta,  his 
friend  and  physician,  who  is  also  very  much  attached  to  the 
nephew,  contrives  a  plot  in  the  latter's  interest.  He  visits 
the  Don,  and  urges  him  to  marry  a  lady,  pretending  that  she 
is  his  sister,  though  in  reality  she  is  Norina,  with  whom 
Ernesto  is  in  love.  He  then  calls  upon  Norina,  and  lets  her 
into  the  secret  of  the  plot,  and  instructs  her  how  to  play  her 
part.  She  is  to  consent  to  the  marriage  contract,  and  then 
so  harass  the  Don  that  he  will  not  only  be  glad  to  get  rid  of 
her,  but  will  give  his  consent  to  her  marriage  with  Ernesto. 
The  second  act  opens  in  Don  Pasquale's  house,  where  Ernesto 


DONIZETTI  77 

is  bewailing  his  fate.  The  Don  enters^  magnificently  dressed, 
and  ready  for  the  marriage.  Norina  appears  with  Malatesta, 
and  feigns  reluctance  to  enter  into  the  contract;  but  when 
the  notary  arrives  she  consents  to  sign.  No  sooner,  however, 
has  she  signed  it  than  she  drops  her  assumed  modesty. 
Ernesto,  who  is  present,  is  bewildered  at  the  condition  of 
affairs,  but  is  kept  quiet  by  a  sign  from  the  Doctor.  Norina 
refuses  all  the  Don's  amatory  demonstrations,  and  declares 
Ernesto  shall  be  her  escort.  She  sumnaons  the  servants,  and 
lays  out  a  scheme  of  housekeeping  so  extravagant  that  the 
Don  is  enraged,  and  declares  he  will  not  pay  the  bills.  She 
insists  he  shall,  for  she  is  now  mistress  of  the  house.  In  the 
third  act  we  find  Norina  entertaining  milliners  and  modistes. 
Don  Pasquale  enters,  and  learning  that  she  is  going  to  the 
theatre,  forbids  it,  which  leads  to  a  quarrel,  during  which 
Norina  boxes  his  ears.  As  she  leaves  the  room  she  drops  a 
letter,  the  reading  of  which  adds  the  pangs  of  jealousy  to  his 
other  troubles.  The  Doctor  at  this  juncture  happens  in  and 
condoles  with  him.  The  Don  insists  that  Norina  shall  quit 
his  house  at  once.  In  the  next  scene  he  taxes  her  with  having 
a  lover  concealed  in  the  house,  and  orders  her  to  leave.  The 
Doctor  counsels  him  to  let  his  nephew  marry  Norina;  and  in 
the  course  of  explanations  the  Don  discovers  that  the  Doctor's 
sister  and  Norina  are  one  and  the  same  person,  and  that  the 
marriage  was  a  sham.  He  is  only  too  glad  of  an  escape  to 
quarrel  with  the  Doctor  for  his  plot,  and  the  young  couple 
are  speedily  united,  and  have  the  old  man's  blessing. 

The  charm  of  the  opera  lies  in  its  comic  situations,  and 
the  gay,  cheerful  music  with  which  they  are  illustrated.  It 
is  replete  with  humor  and  spirit,  and  flows  along  in  such  a 
bright  stream  that  it  is  almost  impossible  to  cull  out  special 
numbers,  though  it  contains  two  duets  and  a  quartet  which 
are  of  more  than  ordinary  beauty,  and  the  exquisite  serenade 
in  the  last  act,  "  Com'  e  gentil."  For  brilliant  gayety  it  stands 
in  the  front  rank  of  all  comic  operas,  though  Donizetti  was 
but  three  weeks  in  writing  it.  It  is  said  that  when  it  was  in 
rehearsal  its  fate  was  uncertain.  The  orchestra  and  singers 
received  it  very   coldly;    but  when  the   rehearsal  was   over, 


78  THE    STANDARD    OPERAS 

Donizetti  merely  shrugged  his  shoulders  and  remarked  to  his 
friend,  M.  Dormoy,  the  publisher:  "Let  them  alone;  they 
know  nothing  about  it.  I  know  what  is  the  matter  with  '  Don 
Pasquale.'  Come  with  me."  They  went  to  the  composer's 
house.  Rummaging  among  a  pile  of  manuscripts,  Donizetti 
pulled  out  a  song.  "  This  is  what  '  Don  Pasquale  '  wants," 
he  said.  "  Take  it  to  Mario  and  tell  him  to  learn  it  at  once." 
Mario  obeyed,  and  when  the  opera  was  performed  sang  it 
to  the  accompaniment  of  a  tambourine,  which  Lablache  played 
behind  the  scenes.  The  opera  was  a  success  at  once,  and  no 
song  has  ever  been  more  popular. 

In  strange  contrast  with  the  gay  humor  of  "  Don  Pasquale," 
it  may  be  stated  that  in  the  same  year  Donizetti  wrote  the 
mournful  "  Don  Sebastian,"  which  has  been  described  as  "  a 
funeral  in  five  acts."  Crowest,  in  his  "  Anecdotes,"  declares 
that  the  serenade  is  suggestive  of  Highland  music,  and  that 
many  of  his  other  operas  are  Scottish  in  color.  He  accounts 
for  this  upon  the  theory  that  the  composer  was  of  Scotch 
descent,  his  grandfather  having  been  a  native  of  Perthshire, 
by  the  name  of  Izett,  and  that  his  father,  who  married  an 
Italian  lady,  was  Donald  Izett.  The  change  from  Donald 
Izett  to  Donizetti  was  an  easy  one.  The  story,  however,  is 
of  doubtful  authenticity. 


Lucia  di  Lammermoor 

"  Lucia  di  Lammermoor,"  opera  seria  in  three  acts,  words 
b}'^  Cammarano,  was  first  produced  at  Naples  in  1835,  with 
Mme.  Persiani  and  Sig.  Duprez,  for  whom  the  work  was 
written,  in  the  principal  roles  of  Lucia  and  Edgardo.  Its 
first  presentation  at  Paris  was  August  10,  1839;  in  London, 
April  5,  1838;  and  in  English,  at  the  Princess  Theatre, 
London,  January  19,  1843.  The  subject  of  the  opera  is  taken 
from  Sir  Walter  Scott's  novel,  "  The  Bride  of  Lammermoor," 
and  the  scene  is  laid  in  Scotland;    time,  about  1669. 

Sir  Henry  Ashton,  of  Lammermoor,  brother  of  Lucy,  the 
heroine,    has    arranged    a    marriage    between    her    and    Lord 


DONIZETTI  79 

Arthur  Bucklaw,  in  order  to  recover  the  fortune  which  he 
has  dissipated,  and  to  save  himself  from  political  peril  he 
has  incurred  by  his  participation  in  movements  against  the 
reigning  dynasty.  Sir  Edgar  Ravenswood,  with  whom  he 
is  at  enmity,  is  deeply  attached  to  Lucy,  who  reciprocates  his 
love,  and  on  the  eve  of  his  departure  on  an  embassy  to 
France  pledges  herself  to  him.  During  his  absence  Edgar's 
letters  are  intercepted  by  her  brother,  who  hints  to  her  of 
his  infidelity,  and  finally  shows  her  a  forged  paper,  which 
she  accepts  as  the  proof  that  he  is  untrue.  Overcome  with 
grief  at  her  lover's  supposed  unfaithfulness,  and  yielding  to 
the  pressure  of  her  brother's  necessities,  she  at  last  consents 
to  her  union  with  Lord  Arthur.  The  marriage  contract  is 
signed  with  great  ceremony,  and  just  as  she  has  placed  her 
name  to  the  fatal  paper,  Edgar  appears.  Learning  from 
Lucy  what  she  has  done,  he  tramples  the  contract  under  foot, 
hurls  an  imprecation  upon  the  house  of  Lammermoor,  and 
bursts  out  of  the  room  in  a  terrible  rage.  Sir  Henry  follows 
him,  and  a  fierce  quarrel  ensues,  which  ends  in  a  challenge. 
Meanwhile,  at  night,  after  the  newly  wedded  couple  have 
retired,  a  noise  is  heard  in  their  apartment.  The  attendants 
rush  in  and  find  Lord  Arthur  dying  from  wounds  inflicted 
by  Lucy,  whose  grief  has  made  her  insane.  When  she  returns 
to  reason,  the  thought  of  what  she  has  done  and  the  horror 
of  her  situation  overcome  her,  and  death  shortly  puts  an  end 
to  her  wretchedness.  Ignorant  of  her  fate,  Edgar  goes  to 
the  churchyard  of  Ravenswood,  which  has  been  selected  as 
the  rendezvous  for  the  duel  with  Sir  Henry.  While  impa- 
tiently waiting  his  appearance,  the  bell  of  the  castle  tolls,  and 
some  of  the  attendants  accosting  him  bring  the  news  of  her 
death.  The  despairing  lover  kills  himself  among  the  graves 
of  his  ancestors,  and  the  sombre  story  ends. 

The  popular  verdict  has  stamped  "  Lucia  "  as  Donizetti's 
masterpiece,  and  if  the  consensus  of  musicians  could  be  ob- 
tained, it  would  unquestionably  confirm  the  verdict.  It  con- 
tains incomparably  the  grandest  of  his  arias  for  tenor,  the 
Tomb  song  in  the  last  act,  and  one  of  the  finest  dramatic 
concerted  numbers,  the  sextet  in  the  second  act,  that  can  be 


80  THE    STANDARD    OPERAS 

found  in  anj^  Italian  opera.  Like  the  quartet  in  "  Rigoletto," 
it  stands  out  in  such  bold  relief,  and  is  so  thoroughly  original 
and  spontaneous  that  it  may  be  classed  as  an  inspiration. 
The  music  throughout  is  of  the  most  sombre  character.  It 
does  not  contain  a  joyous  phrase.  And  yet  it  can  never  be 
charged  with  monotony.  Every  aria,  though  its  tone  is  serious 
and  more  often  melancholy,  has  its  own  characteristics,  and 
the  climaxes  are  worked  up  with  great  power.  In  the  first 
act,  for  instance,  the  contrasts  are  very  marked  between 
Henry's  aria,  "  Cruda,  funesta  Smania,"  the  chorus  of  hunters, 
"  Come  Vinti  da  stanchezza,"  Henry's  second  aria,  "  La  Pie- 
tade  in  suo  Favore,"  in  which  he  threatens  vengeance  upon 
Edgar,  the  dramatic  and  beautifully  written  arias  for  Lucy, 
"  Regnava  nel  Silenzio  "  and  "  Quando  rapita  in  Estasi,"  and 
the  passionate  farewell  duet  between  Lucy  and  Edgar,  which 
is  the  very  ecstasy  of  commingled  love  and  sorrow.  The 
second  act  contains  a  powerful  duet  ("  Le  tradirmi  tu  potrai  ") 
between  Lucy  and  Henry;  but  the  musical  interest  of  the 
act  centres  in  the  great  sextet  ("  Chi  mi  frena "),  which 
ensues  when  Edgar  makes  his  unexpected  appearance  upon 
the  scene  of  the  marriage  contract.  For  beauty,  power,  rich- 
ness of  melody,  and  dramatic  expression,  few  concerted  num- 
bers by  any  Italian  composer  can  rival  it.  The  last  act  also 
contains  two  numbers,  the  mad  song  of  Lucy  ("Oh!  Gioja 
che  si  senti  "),  and  the  tomb  scena  ("  Tomba  degl'  avi  miei  "), 
which  affords  even  the  most  accomplished  tenor  ample  scope 
for  his  vocal  ability. 


L'Elisir  d' A  more 

"  L'Elisir  d'Amore,"  opera  bouffe  in  two  acts,  words  by 
Romani,  was  first  produced  in  Milan,  in  18S2,  and  in  Eng- 
lish, at  Drury  Lane,  in  1839,  as  "The  Love  Spell."  The 
heroine  of  this  graceful  little  opera  is  Adina,  a  capricious 
country  girl,  who  is  loved  by  Nemorino,  a  young  farmer,  whose 
uncle  lies  at  the  point  of  death,  and  by  Belcore,  a  sergeant, 
whose  troops  are  billeted  upon  the  neighboring  village.     While 


Saleza  as  Edgardo 

Copyright,  Aimi  Dupoui 


DONIZETTI  81 

Adina  keeps  both  these  suitors  in  suspense,  Dr.  Dulcamara, 
a  travelling  quack,  arrives  at  the  village  in  great  state  to  vend 
his  nostrums.  Nemorino  applies  to  him  for  a  bottle  of  the 
Elixir  of  Love,  —  with  the  magical  properties  of  which  he  has 
become  acquainted  in  a  romance  Adina  has  been  reading  that 
very  morning.  The  mountebank,  of  course,  has  no  such  liquid, 
but  he  passes  off  on  the  simple  peasant  a  bottle  of  wine,  and 
assures  him  that  if  he  drinks  of  it  he  can  command  the  love  of 
any  one  on  the  morrow.  To  thoroughly  test  its  efficacy, 
Nemorino  drinks  the  whole  of  it.  When  he  encounters  Adina 
he  is  half  tipsy,  and  accosts  her  in  such  disrespectful  style 
that  she  becomes  enraged,  and  determines  to  give  her  hand 
to  the  Sergeant,  and  promises  to  marry  him  in  a  week.  Mean- 
while an  order  comes  for  the  departure  of  the  Sergeant's  de- 
tachment, and  he  begs  her  to  marry  him  the  same  day.  She 
gives  her  consent,  and  the  second  act  opens  with  the  as- 
sembling of  the  villagers  to  witness  the  signing  of  the  marriage 
contract.  While  the  Sergeant,  Adina,  and  the  notary  have 
retired  to  sign  and  witness  the  contract,  Nemorino  enters  in 
despair,  and  finding  Dulcamara  enjoying  a  repast,  he  implores 
him  to  give  him  some  charm  that  will  make  Adina  love  him  at 
once.  Having  no  money,  the  quack  refuses  to  assist  him,  and 
Nemorino  is  again  plunged  into  despair.  At  this  juncture  the 
Sergeant  enters,  not  in  the  best  of  humor,  for  Adina  has 
declined  to  sign  the  contract  until  evening.  Discovering  that 
Nemorino  wants  money,  he  urges  him  to  enlist.  The  bonus 
of  twenty  crowns  is  a  temptation.  Nemorino  enlists,  takes  the 
money,  hurries  to  the  quack,  and  obtains  a  second  bottle  of 
the  elixir,  which  is  much  more  powerful  than  the  first.  In 
the  next  scene  the  girls  of  the  village  have  discovered  that 
Nemorino's  uncle  has  died  and  left  him  all  his  property, 
though  Nemorino  himself  has  not  heard  of  it.  They  crowd 
about  him,  trying  to  attract  his  attention  with  their  charms 
and  blandishments.  He  attributes  his  sudden  popularity  to 
the  effects  of  the  elixir,  and  even  the  quack  is  somewhat 
bewildered  at  the  remarkable  change.  Nemorino  now  deter- 
mines to  pay  Adina  off  in  kind,  and  at  last  rouses  her  jealousy. 
Meanwhile  Dulcamara  acquaints  her  with  the  effects  of  the 


8g  THE    STANDARD    OPERAS 

elixir  and  advises  her  to  try  some  of  it^  and  during  the  inter- 
view inadvertently  informs  her  of  Nemorino's  attachment  for 
her.  Struck  with  his  devotion,  she  repays  the  Sergeant  herself, 
announces  her  change  of  mind,  and  bestows  her  hand  upon 
the  faithful  Nemorino.  Like  "  Don  Pasquale,"  the  opera  is 
exceedingly  graceful  in  its  construction,  and  very  bright  and 
gay  in  its  musical  effects,  particularly  in  the  duets,  of  which 
there  are  two,  —  one  between  Dulcamara  and  Nemorino  in  the 
first  act  ("  Obbligato,  ah!  si  obbligato  "),  and  one  between 
Dulcamara  and  Adina  in  the  second  act  ("  Quanto  Amore ! 
ed  io  spietata "),  which  are  charming  in  their  spirit  and 
humor.  There  is  also  an  admirable  buffo  song  in  the  first 
act,  beginning  with  the  recitative,  "  Udite,  udite,  o  Rustici,"  in 
which  the  Doctor  describes  his  wares  to  the  rustics,  and  a 
beautiful  romanza  in  the  second  act  for  tenor  ("  Una  furtiva 
Lagrima  "),  which  bears  the  same  relation  to  the  general  set- 
ting of  the  work  that  the  Serenade  does  to  "  Don  Pasquale." 


liUcrezia  Borgia 

"  Lucrezia  Borgia,"  grand  opera  in  three  acts,  words  by 
Romani,  was  first  produced  at  La  Scala,  Milan,  in  1834.  The 
subject  was  taken  from  Victor  Hugo's  tragedy  of  the  same 
name,  and  its  text  was  freely  adapted  by  Romani,  When  it 
was  produced  in  Paris,  in  1 840,  Victor  Hugo  took  steps  to 
suppress  any  further  representations.  The  libretto  was  then 
rewritten,  under  the  title  of  "  La  Rinegata,"  the  Italian  char- 
acters were  changed  to  Turks,  and  in  this  mutilated  form  the 
performances  were  resumed.  It  was  in  this  opera  that  Signor 
Mario  made  his  English  debut,  in  1839,  with  great  success. 
Its  first  presentation  in  English  was  at  London,  December 
30,  1843. 

The  history  of  Lucrezia  Borgia,  daughter  of  Rodrigo  Borgia, 
afterwards  Pope  Alexander  VI,  and  sister  of  Cassar  Borgia, 
is  too  well  known  to  need  recapitulation.  It  is  necessary  to 
the  comprehension  of  the  story  of  the  opera,  however,  to  state 
that  she  had  an   illegitimate   son,  named  Genarro,  who  was 


Sembrich  as  Adma 

Copyright^  Aitne  Ditpont 


DONIZETTI  83 

left  when  an  infant  with  a  fisherman,  but  who  subsequently 
entered  the  Venetian  army  and  rose  to  an  eminent  rank.  The 
opera  opens  with  a  brilliant  festival  in  the  gardens  of  the 
Barberigo  Palace,  which  is  attended  by  Genarro,  Orsini,  and 
others,  all  of  them  cordial  haters  of  the  detestable  Borgias. 
While  they  are  telling  tales  of  Lucrezia's  cruel  deeds,  Genarro 
lies  down  and  goes  to  sleep,  and  Orsini  in  a  spirited  aria 
("  Nelle  fatal  di  Rimini ")  relates  to  his  companions  the 
story  of  Genarro's  gallantry  at  the  battle  of  Rimini.  As  they 
leave,  Lucrezia  approaches,  masked,  in  a  gondola,  and  is 
received  by  Gubetta,  with  whom  she  has  come  to  Venice  on 
some  secret  errand.  She  discovers  Genarro  asleep,  and  ex- 
presses her  delight  at  his  beauty,  and  at  the  same  time  her 
maternal  love,  in  a  brilliant  aria,  "  Com'  e  bello."  As  she 
kisses  his  hand  he  wakes,  and  in  the  duet  which  follows  tells 
her  the  story  of  his  early  life  in  a  romanza  ("  Di  Pescatore 
ignobile  ").  He  begs  her  to  reveal  her  name,  but  she  refuses. 
As  he  continues  to  implore  her,  his  friends  return  and  de- 
nounce her  to  Genarro  as  the  hated  Borgia,  in  a  concerted 
number  ("  Chi  siam  noi  sol  chiarirla ")  of  great  dramatic 
power,  which  closes  the  first  act. 

The  second  act  opens  in  the  public  square  of  Ferrara,  with 
the  palace  of  the  Borgias  on  the  right.  The  Duke  Alphonso, 
Lucrezia's  husband,  who  has  been  observant  of  Lucrezia's 
attachment  to  Genarro,  vows  vengeance  in  a  passionate  aria 
("  Vieni  la  raia  Vendetta  ").  In  the  next  scene  Genarro,  who 
has  been  taunted  by  his  friends  with  being  a  victim  of 
Lucrezia's  fascinations,  recklessly  rushes  up  to  the  palace  door 
and  strikes  off  the  first  letter  of  her  name  with  his  dagger. 
When  Lucrezia  discovers  the  insult,  she  demands  of  the  Duke 
that  the  guilty  person  shall  be  arrested  and  condemned  to 
death.  The  Duke  has  already  seized  Genarro,  and  agrees 
to  carry  out  his  wife's  demands.  When  the  prisoner  is  brought 
before  them  for  judgment,  she  is  horror-stricken  to  find  he 
is  her  son.  She  implores  his  life,  but  the  infuriated  Duke 
retaliates  upon  her  with  the  declaration  that  she  is  his  para- 
mour. The  duet  between  them  ("  O!  a  te  bada  "),  in  which 
Lucrezia  passes  from  humble  entreaties  to  rage  and  menace. 


84  THE    STANDARD    OPERAS 

is  a  fine  instance  of  Donizetti's  dramatic  power.  The  Duke, 
however,  is  resolute  in  his  determination,  and  will  only  allow 
her  to  choose  the  mode  of  Genarro's  death.  She  selects  the 
Borgia  wine,  which  is  poisoned.  Genarro  is  called  in,  and 
after  a  trio  ("  Le  ti  tradisce  "),  which  is  one  of  the  strongest 
numbers  in  the  opera,  he  is  given  the  fatal  draught  under 
the  pretence  of  a  farewell  greeting  from  the  Duke,  who  then 
leaves  mother  and  son  together.  She  gives  him  an  antidote, 
and  he  is  thus  saved  from  the  fate  which  the  Duke  had  in- 
tended for  him. 

The  last  act  opens  at  a  banquet  in  the  palace  of  the  Princess 
Negroni,  which  is  attended  by  Genarro  and  his  friends, 
Lucrezia,  meanwhile,  supposing  that  he  has  gone  to  Venice. 
During  the  repast  she  has  managed  to  poison  their  wine.  In 
the  midst  of  the  gay  revel  Orsini  sings  the  popular  drinking- 
song,  "  II  Segreto  per  esser  felici,"  which  is  familiar  the 
world  over.  The  festivities  are  interrupted,  however,  by  the 
appearance  of  Lucrezia,  who  reveals  herself  with  the  taunting 
declaration:  "  Yes,  I  am  Borgia.  A  mournful  dance  ye  gave 
me  in  Venice,  and  I  return  ye  a  supper  in  Ferrara."  She  then 
announces  that  they  are  poisoned.  The  music  is  changed  with 
great  skill  from  the  wild  revelry  of  drinking-songs  to  the 
sombre  strains  of  approaching  death.  Five  coffins  are  shown 
them,  when  Genarro  suddenly  reveals  himself  to  Lucrezia 
and  asks  for  the  sixth.  The  horror-stricken  woman  again 
perceives  that  her  son  has  been  poisoned  by  her  own  hand. 
As  his  companions  leave  the  apartment  she  implores  Genarro 
to  take  the  antidote  once  more,  and  at  last  reveals  herself 
as  his  mother.  He  steadily  refuses  to  save  himself,  however, 
since  his  companions  have  to  die,  and  expires  in  her  arms 
just  as  the  Duke  and  his  followers  enter.  She  discloses 
Genarro's  relationship,  and  then  dies  with  the  despairing  cry 
on  her  lips  that  Heaven  has  pronounced  its  final  judgment 
upon  her. 


DONIZETTI  86 

Linda  de  Chamouni 

"  Linda  de  Chamouni/'  grand  opera  in  three  acts,  text  by 
Rossi,  was  first  produced  at  the  Karnthnerthor  Theatre, 
Vienna,  May  19,  1842.  The  first  act  opens  in  the  valley  of 
Chamouni  and  discloses  the  home  of  Antonio  Lonstolat,  a 
farmer,  and  his  old  wife,  Madalina,  whose  only  daughter, 
Linda,  is  in  love  with  Carlo,  a  young  painter  who  has  re- 
cently come  into  the  valley.  Misfortunes  have  overtaken  the 
old  couple,  and  they  are  in  danger  of  losing  their  farm, 
which  is  owned  by  the  Marchioness  de  Sirval.  Their  anxiety 
is  temporarily  relieved  when  the  Marquis  of  Boisfleury  visits 
them  and  assures  them  he  will  save  the  farm,  his  real  purpose 
being  to  effect  the  ruin  of  Linda  by  ingratiating  himself  with 
her  parents.  The  Prefect  of  the  village,  however,  is  aware 
of  his  designs,  and  induces  them  to  allow  Linda  to  accompany 
a  party  of  villagers  to  Paris,  promising  at  the  same  time  to 
place  her  with  his  brother,  who  is  supposed  to  be  living  in 
that  city.  She  soon  leaves  under  the  protection  of  Pierotto, 
the  Savoyard. 

The  second  act  discloses  them  on  the  way  to  Paris,  but 
Linda  unfortunately  loses  her  companion.  Upon  reaching 
Paris  she  finds  that  the  Prefect's  brother  is  dead.  Mean- 
while Carlo,  who  has  followed  her,  arrives,  and  reveals  to 
her  that  he  is  the  Viscount  Sirval,  son  of  the  Marchioness, 
and  nephew  of  the  Marquis.  He  renews  his  offer  of  mar- 
riage, and  places  her  in  a  handsome  apartment.  In  these 
questionable  surroundings  Pierotto  discovers  her.  Her  father, 
who  has  had  to  give  up  the  farm,  also  finds  her,  and,  dis- 
trusting her  innocence  amid  such  luxury,  curses  her.  The 
Marchioness  meanwhile,  who  has  learned  of  her  son's  attach- 
ment, threatens  to  imprison  Linda  if  he  does  not  marry  the 
lady  she  has  selected  for  him.  He  gives  his  feigned  consent, 
and  Linda,  thinking  he  has  deserted  her,  goes  insane. 

In  the  last  act  Pierotto  takes  her  back  to  her  native  vil- 
lage. Carlo  arrives  there  in  search  of  her,  and  finding  her 
with  Pierotto  sings  to  her,  hoping  she  will  recognize  his 
voice   and  that  her   reason  may   return.      The   song  has   the 


86  THE    STANDARD    OPERAS 

desired  effect.      Subsequently  the  Marchioness   relents,  gives 
her  consent  to  their  union,  and  all  ends  happily. 

The  music  of  "  Linda  "  is  of  that  serious  and  dignified 
kind  which  justifies  its  inclusion  in  the  list  of  grand  operas. 
In  the  first  act  the  opening  aria  of  Antonio  ("  We  were  both 
in  this  Valley  nurtured ")  is  a  touching  expression  of  the 
sorrow  of  the  aged  couple.  Linda's  farewell,  "  Oh,  Stars 
that  guide  my  fervent  Love,"  familiar  on  the  concert  stage 
by  its  Italian  title,  "  O,  Luce  di  quest'  Anima,"  is  an  aria  of 
strong  dramatic  power.  In  this  act  also  are  Pierotto's  pathetic 
ballad,  "  Once  a  better  Fortune  seeking,"  and  the  passionate 
duet  for  Linda  and  Carlo,  "  Oh,  that  the  blessed  Day  were 
come !  "  The  principal  numbers  in  the  second  act  are  the 
brilliant  duet  for  Linda  and  Pierotto  ("  Oh,  Linda,  at  thy 
happy  Fate"),  which  is  highly  embellished,  and  the  aria 
for  Linda  ("Ah!  go,  my  Love").  The  last  act  contains  a 
mournful  aria  by  Carlo  ("  If  from  Heaven  the  Bolts  should 
reach  me  ")  ;  his  charming  song  in  which  he  appeals  to  Linda 
("Hear  the  Voice  that,  softly  singing");  and  the  rapturous 
duet  for  Linda  and  Carlo  ("Ah!  the  Vision  of  thy  Sorrow 
fades  "),  which  closes  the  opera. 


DUKAS    (PAUL) 

Ariane  et  Barbe  Bleue 

"  A  RIANE  et  Barbe  Bleue,"  an  opera  in  three  acts,  text 
±\.  by  M.  Maeterlinck,  music  by  Paul  Dukas,  was  first 
performed  at  the  Opera  Comique,  Paris,  early  in  the  Spring 
of  1907,  and  had  its  first  hearing  in  this  country  in  New 
York,  March  3,  1911.  Its  original  title  is  "  Conte  en  trois 
actes  "  ("tale  in  three  acts").  The  composer  was  born  in 
Paris  October  1,  1865,  and  after  graduating  from  the  Con- 
servatory, wrote  several  overtures  and  cantatas,  a  symphony 
in  C,  and  the  scherzo,  "  L'Apprenti  Sorcier,"  which  was  first 
performed  by  the  Thomas  orchestra  in  this  country  in  1899 
in  Chicago. 

The  story  is  based  upon  the  well-known  legend  of  Blue- 
beard. After  the  strange  disappearance  of  his  five  wives, 
he  brings  to  his  castle  Ariane,  the  sixth,  an  event  which  greatly 
enrages  the  peasantry.  Unappalled  by  the  mysterious  fate 
of  her  predecessors,  Ariane  seeks  to  discover  the  cause  of 
their  disappearance.  She  is  given  seven  keys  by  Bluebeard, 
with  six  of  which  she  may  open  six  of  the  doors  of  the  hall 
surrounding  her  apartment,  but  the  seventh  must  remain 
untouched.  She  throws  away  the  six,  caring  only  for  the 
seventh.  Her  nurse  opens  the  six  doors,  behind  which  is  seen 
a  continuous  shower  of  precious  stones.  At  last  Ariane  opens 
the  seventh  and  hears  distant  melancholy  and  ominous  chant- 
ing. At  that  instant  Bluebeard  enters  and  wrathfully  seizes 
her.  The  nurse,  alarmed  for  her  safety,  rushes  out  and 
informs  the  peasants.  They  are  about  to  slay  the  giant  when 
Ariane  protests  and  declares  he  has  not  harmed  her. 

The  second  act  discloses  Ariane  and  her  nurse  in  the  sub- 


88  THE    STANDARD    OPERAS 

terranean  vault  where  the  other  six  wives  are  confined.  She 
tries  to  comfort  them^  and  is  much  surprised  when  they  make 
no  complaint  over  their  fate.  She  strikes  tlie  wall  of  the 
vault  with  a  stone,  thereby  breaking  a  glass  door  which  opens 
upon  a  garden,  whither  the  wives  follow  her. 

In  the  third  act  Ariane  and  her  companions  are  seen  re- 
joicing in  their  new  life  and  decking  themselves  with  adorn- 
ments. Their  enjoyment  is  interrupted  by  a  tumult  without. 
Bluebeard  has  returned  and  the  peasants  attack  and  wound 
liim.  He  is  then  seized,  bound,  and  taken  into  the  castle. 
Ariane,  after  thanking  the  peasants,  bids  them  depart  and 
releases  Bluebeard.  As  his  wives  crowd  about  him,  moved  by 
pity,  Ariane  asks  which  of  them  will  accompany  her.  Exult- 
ing in  their  newly  found  freedom,  they  decide  to  stay  with 
their  husband,  whereupon  Ariane  and  the  nurse  leave  them, 
notwithstanding  the  entreaty  of  the  wounded  Bluebeard  that 
she  shall  remain. 

The  prominent  musical  numbers  are  the  aria  sung  by  Ariane 
in  salutation  of  the  jewels,  the  invisible  chorus  of  the  wives, 
and  the  accompaniment  to  the  opening  of  the  successive  doors 
in  the  first  act;  the  accompaniment  to  Ariane's  effort  to  reach 
the  wives  imprisoned  in  the  vault,  the  great  climax  when 
Ariane  breaks  the  glass  door,  and  her  song  to  the  beauty  of 
Spring  in  the  second;  the  prelude,  Ariane's  appeal  to  the 
wives,  and  the  powerful  climax  at  the  close,  in  the  third  act, 
explaining  the  subtitle  which  Maeterlinck  attached  to  his  text, 
"  The  fruitless  Deliverance."  Tlie  opera  might  almost  be 
called  cosmopolitan,  for  it  has  distinct  traces  of  Wagner,  of 
Debussy,  and  of  the  Russian  school.  Representative  motives 
are  freely  used,  but  the  general  color  is  French  and  specially 
Debussian.  Indeed  the  composer  acknowledges  his  obliga- 
tions to  Debussy  in  a  memorandum  attached  to  the  score. 


WOLF-FERRARI   (ERMANNO) 

Suzanne's  Secret 

"TL  Segreto  di  Susanna"  ("Suzanne's  Secret"),  text  by 
Jl  Enrico  Golisciani,  music  by  Ermanno  Wolf-Ferrari,  was 
first  performed  at  Munich,  December  4,  1909,  and  had  its 
American  premiere  in  New  York,  March  14,  1911.  Wolf- 
Ferrari  is  a  new  name  in  the  operatic  world,  and  yet,  though 
he  has  been  known  in  this  country  for  only  a  year,  three  of 
his  operas,  "  Suzanne's  Secret,"  "  Le  Donne  Curiose,"  and 
"  The  Jewels  of  the  Madonna,"  have  been  produced  with  ex- 
traordinary success,  as  well  as  his  oratorio,  "  Vita  Nuova," 
which  was  first  given  in  1907  by  the  New  York  Oratorio 
Society.  The  composer  was  born  in  Venice  January  12,  1876, 
his  father  being  a  German  painter,  August  Wolf,  and  his 
mother  an  Italian.  Up  to  his  seventeenth  year  he  was  self- 
educated.  Bach  and  Beethoven  being  his  principal  studies, 
and  the  influence  of  each  is  apparent  in  his  "  Vita  Nuova." 
After  this  period  he  studied  for  a  time  with  Rheinberger  and 
in  1895  returned  to  Italy  and  devoted  himself  to  the  Italian 
masters.  The  outcome  of  his  work  is  clearly  traceable  in 
the  Italian  and  German  characteristics  of  his  music.  In 
addition  to  the  three  operas  named  above,  he  has  written 
"  Sulamith,"  "  Cinderella,"  and  "  Die  vier  Grobriane,"  all 
of  which  have  been  produced  within  the  last  ten  years.  At 
present  he  is  director  of  the  Venetian  Conservatory,  Liceo 
Benedetto  Marcello. 

The  story  of  "  Suzanne's  Secret "  is  the  merest  trifle. 
Count  Gil,  the  husband  of  Suzanne,  detects  the  odor  of 
cigarette  smoke  in  the  drawing-room  and  thereupon  suspects 
her  of  entertaining  a  lover  in  the  house  and  goes  so  far  as 
openly  to  charge  her  with  having  a  secret.     Suzanne,  who  is 


90  THE    STANDARD    OPERAS 

a  confirmed  cigarette  smoker,  thinking  that  he  is  enraged 
because  she  smokes,  admits  that  she  has.  In  his  jealous  fury 
the  Count  makes  havoc  with  the  furnishings  of  the  room  and 
leaves  his  wife  in  a  fit  of  tears  over  his  insane  jealousy. 
After  he  has  left  she  consoles  herself  with  another  cigarette. 
Meanwhile  the  Count,  who  fancies  he  has  discovered  the  trail 
of  the  unknown  lover,  returns  in  time  to  find  her  smoking. 
The  secret  is  out,  peace  is  restored,  and  the  curtain  falls  upon 
the  servant,  who  has  been  clearing  up  the  wreck,  himself 
lighting  a  cigarette. 

No  lighter  subject  was  ever  set  to  music  than  "  Suzanne's 
Secret."  Indeed  it  almost  seems  too  flimsy  for  musical  illus- 
tration, and  yet  the  composer  has  succeeded  in  making  his 
little  one-act  opera  thoroughly  interesting,  and  very  fascinat- 
ing in  its  musical  effect.  It  is  light,  tuneful,  and  vivacious 
throughout,  and  the  listener  finds  no  dull  moments  in  it.  Its 
most  striking  passages  are  the  prelude,  which  contains  four 
themes  worked  up  in  skilful  contrapuntal  manner  and  marked 
in  the  score  as  an  "  overture  in  miniature,"  a  description  which 
rightly  belongs  to  the  whole  opera,  the  sentimental  character 
of  Suzanne's  meditation  as  she  deplores  the  rage  of  the  Count 
and  proceeds  to  console  herself  with  a  fresh  cigarette,  and 
the  happy  duet  of  the  two,  after  the  secret  is  out.  The 
opera  is  in  the  style  of  the  miniature  Italian  musical  comedies 
which  were  in  vogue  two  or  three  centuries  ago.  One  of  his 
biographers  states  that  his  music  "  in  simplification  of  form, 
restoration  of  quality  between  content  and  form,  artistic  har- 
mony between  idea  and  expression  "  is  "  a  new  creation  in  the 
spirit  of  Mozart."  It  has  indeed  the  gaiety  and  vivacity  of 
that  supreme  master  of  melody. 


Le  Donne  Curiose 

"  Le  Donne  Curiose  "  ("  The  curious  Woman  ")  had  its  first 
performance  in  Munich  in  1903,  and  was  first  heard  in  this 
country  in  New  York,  December  28,  1911.  The  principal 
roles  on  that  occasion  were  assigned  as  follows: 


Caroline  White  as  Countess  Gil 

Copyright^  Matzene 


WOLF-FERRARI  91 

Rosaura Geraldine  Farrah. 

Florindo Hermann  Jadlowker. 

Ottavio Adamo  Didus. 

Beatrice Jeanne  Maubourg. 

Ldio Antonio  Scotti. 

Eleonora Rita  Fornia. 

Colombina Bella  Alten. 

Pantalone Antonio  Pini-Corsi. 

Arlecchini Andrea  de  Segurola. 

The  opera  is  described  upon  the  score  as  "  a  musical 
comedy  in  three  acts  after  Carlo  Goldoni,  by  Count  Dr. 
Luigi  Sugana,  German  version  by  Hermann  Peibler "  —  in 
a  word,  a  comedy  of  manners  set  to  music. 

The  story,  like  that  of  "  Suzanne's  Secret,"  is  a  simple 
one.  Each  act  has  its  motto,  that  of  the  first  being 
"Women  not  admitted";  of  the  second,  "  I  shall  find  out," 
and  of  the  third,  "Amicizia  "  or  "  Friendship."  A  group 
of  Venetian  gentlemen  have  organized  a  club  to  which  women 
are  not  admitted,  and  the  first  scene  discloses  them  at  a 
banquet  which  Pantalone  has  provided.  The  scene  then 
changes  to  the  house  of  Ottavio,  where  the  wives  are  discuss- 
ing plans  to  discover  what  the  husbands  are  doing.  At  last 
Colombina  succeeds  in  finding  the  password  "  Amicizia." 
The  first  scene  of  the  second  act  changes  to  the  house  of 
Lelio.  Eleonora  discovers  from  a  letter  in  her  husband's 
pocket  that  the  men  have  had  new  keys  made.  When  Ottavio 
and  his  family  arrive  the  women  use  every  effort  to  get  the 
keys,  and  Colombina  once  more  succeeds.  They  now  deter- 
mine to  satisfy  their  curiosity  by  visiting  the  club.  But 
Rosaura,  being  only  a  young  girl,  is  to  be  left  at  home.  She 
however  succeeds  in  getting  a  key  from  her  lovesick  Florindo. 
In  the  last  act,  after  more  or  less  trouble,  the  women  effect 
an  entrance,  only  to  find  that  their  lovers  and  spouses  are 
enjoying  a  good  dinner.  After  being  well  scolded  for  their 
inquisitiveness  they  are  forgiven,  and  all  join  in  a  merry 
dance.  The  love  interest  in  the  story  is  sustained  by  Rosaura 
and  Florindo. 

"  Le  Donne  Curiose  "  is  another  instance  of  the  skill  of 
the  composer  in  making  one  of  the  simplest  subjects  musi- 


9«  THE    STANDARD    OPERAS 

cally  interesting.  The  overture  is  specially  charming  for  the 
ingenious  manner  in  which  the  leading  motives  of  the  opera 
are  given  out,  varied  and  combined.  The  principal  numbers 
in  the  first  act  are  Eleonora's  dainty  aria  relating  her  ex- 
perience with  a  dressmaker,  which  develops  into  a  trio; 
Colombina's  graceful  aria  immediately  following,  in  which 
she  reveals  her  suspicions  about  the  club;  and  the  quarrel 
scene  between  Beatrice  and  her  husband,  in  the  first  act; 
the  dramatic  quartet  between  Rosaura,  Beatrice,  Florindo, 
and  Ottavio,  followed  by  an  aria  for  Rosaura  and  a  love  duet 
between  her  and  Florindo  in  the  second ;  a  part  of  the 
Venetian  folksong,  "  Le  Biondina  in  Gondoletti,"  which  is 
afterwards  sung  as  a  whole  by  the  occupant  of  a  gondola, 
the  banquet  chorus  of  the  men,  and  a  graceful  minuet  closing 
the  scene,  in  the  last  act.  There  has  rarely  been  a  comic 
opera  placed  upon  the  stage  with  a  closer  adjustment  of 
music  to  the  situations  and  general  spirit  of  the  scenes.  It 
shows  a  fine  blending  of  the  old  and  the  new.  The  composer 
has  borrowed  judiciously  but  in  every  case  has  so  utilized 
the  borrowed  matter  as  to  give  it  an  air  of  originality,  and 
in  some  cases  has  improved  by  refinement.  The  text  is  cen- 
turies old  and  he  has  drawn  upon  the  old  music  to  give  it  a 
proper  setting  and  skilfully  presents  the  old  in  modern  dress 
so  that  the  effect  is  absolutely  natural  and  spontaneous.  In 
every  respect,  in  the  treatment  of  the  voice  parts  and  of  the 
orchestration,  the  work  is  pure  musical  comedy  and  a  master- 
piece of  its  kind. 


The  Jewels  of  the  Madonna 

"  I  Giogelli  della  Madonne "  ("  The  Jewels  of  the  Ma- 
donna"), opera  in  three  acts,  was  first  performed  in  Berlin 
December  24,  1911,  and  had  its  American  premiere  at  Chicago 
January  16,  1912,  under  the  personal  supervision  of  the  com- 
pyoser.  The  cast  of  principal  characters  upon  that  occasion 
was  as  follows: 


Amadeo  Bassi  as  Genarro 

Copyright,  Matzene 


WOLF-FERRARI  93 

Genarro Amadeo  Bassi. 

Carmela Louise  Berat. 

Maliclla Caroline  White. 

Rafaele Mario  Sammarco. 

Biaso Francesco  Daddi. 

Totonno Edmond  Warney. 

Cicilio Emilio  Venturini. 

The  minor  parts  were  taken  by  Riegelman^  Witkowska, 
Galli  (danseuse)  and  Fossctta.  The  libretto  of  "  The  Jewels 
of  the  IMadonna,"  by  C.  Zangarini  and  E.  Golisciani,  presents 
a  graphic^  brilliant,  passionate,  and  at  times  lurid  picture  of 
Neapolitan  life.  The  four  leading  characters  are  Genarro, 
a  young  blacksmith  living  with  Carmela,  his  mother ;  Maliella, 
an  adopted  daughter,  of  illegitimate  birth ;  and  Rafaele,  a 
bully  and  leader  of  the  Camorra.  The  curtain  rises  disclos- 
ing the  hurly-burly  of  a  Neapolitan  street  on  the  eve  of  the 
festival  of  the  Madonna,  reminding  one  of  a  similar  picture 
in  Charpentier's  "  Louise."  Genarro  is  seen  at  work  upon  a 
candelabrum,  which  he  dedicates  to  the  Madonna.  Maliella,  in 
dishevelled  attire,  rushes  from  the  house  declaring  she  will 
join  the  revellers  notwithstanding  the  protests  of  Genarro 
and  Carmela.  The  voices  of  the  Camorrists  are  heard  in  the 
distance  and  she  runs  to  meet  them,  while  Genarro  and  his 
mother  pray  to  the  Madonna  to  save  her.  Rafaele,  their 
leader,  makes  love  to  her,  but  she  resents  his  approaches 
and  finally  stabs  him  in  the  hand  with  a  pin  from  her  hair. 
He  kisses  the  wound,  declaring  that  with  this  blood  kiss  she 
has  given  him  her  heart.  The  procession  of  the  Virgin  ap- 
pears, and  while  the  crowd  are  on  their  knees  Rafaele  re- 
news his  suit  and  whispers  to  Maliella  that  he  will  get  the 
jewels  adorning  the  Madonna  if  she  wishes  them.  Genarro 
espies  them  and  tells  Maliella  that  Rafaele  is  the  wickedest 
man  in  Naples,  but  she  retorts  that  he  knows  how  to  make 
love  and  as  she  goes  towards  the  house  Rafaele  exultantly 
declares  she  is  his. 

The  second  act  opens  with  a  scene  between  Genarro  and 
Maliella  in  Carmela's  garden.  She  declares  to  him  that  she 
is  going  to  live  a  free  life  and  Genarro  at  last  ceases  his  pro- 
tests.    She  goes  into  the  house  and  packs  her  clothes,  and 


94  THE    STANDARD    OPERAS 

when  she  returns  Genarro  begs  for  a  good-by  kiss.  She 
coldly  turns  her  cheeky  but  Genarro  passionately  embraces 
her  and  tells  her  he  is  in  love  with  her.  She  replies  that  she 
is  in  love  with  the  man  who  would  steal  the  jewels  of  the 
Madonna  for  her  and  tries  to  get  to  the  street,  but  Genarro 
locks  the  gate,  whereupon  Maliella  enters  the  house  again, 
singing  a  vile  street  song.  Left  alone,  Genarro  suddenly 
gathers  up  some  of  his  tools,  puts  out  the  lamp  on  his  table, 
and  disappears.  After  he  has  gone,  the  Camorrists,  led  by 
Rafaele,  come  to  serenade  her.  She  descends  from  her 
chamber,  and  as  she  appears  at  the  gate  Rafaele  dismisses 
his  companions  and  a  passionate  interview  occurs,  at  the  close 
of  which  she  consents  to  follow  him  to  the  haunts  of  the 
Camorra.  When  Genarro  at  last  returns  he  brings  with  him 
a  bundle  containing  the  jewels,  and  as  he  opens  them  Maliella 
falls  back  in  terror.  After  being  assured  that  he  had  prayed 
to  the  Madonna  and  that  she  knew  he  was  pure  at  heart, 
Maliella,  fascinated  by  the  jewels,  puts  them  on,  declaring  that 
she  wishes  Rafaele  might  see  her  thus  adorned.  The  scene 
closes  with  a  mad  display  of  passion  on  Genarro's  part,  to 
which  Maliella  submits,  fancying  that  she  is  in  the  embrace 
of  Rafaele. 

The  third  act  opens  in  the  resort  of  the  Camorrists,  where 
an  orgy  is  in  progress  as  Rafaele  enters.  He  urges  on  the 
dancers,  and  the  revel  is  at  its  height  when  the  voice  of 
Maliella  is  heard  imploring  Rafaele  to  save  her  from  Genarro. 
She  is  admitted  in  a  fainting  condition,  and  Rafaele  orders 
his  men  to  bring  Genarro  dead  or  alive.  Meanwhile  she  tells 
her  story  of  Genarro's  passion  and  Rafaele's  love  turns  to 
scorn.  He  brutally  repulses  her,  and  as  he  does  so,  her 
shawl  slips  from  her  shoulders  disclosing  the  jewels.  Genarro 
suddenly  appears  in  their  midst,  declaring  that  Maliella  is 
his.  She  tears  the  jewels  from  her  person  and  throws  them 
down  with  the  wild  outcry  that  she  never  was  his  and  that 
he  stole  the  jewels  from  the  Madonna.  Rafaele,  however, 
rejects  her  and  she  flees  through  the  crowd  broken-hearted. 
All  depart  leaving  Genarro  alone.  He  places  the  jewels  upon 
the  altar  and  prays  to  the  Madonna  for  a  sign  that  he  is 


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Mario  Sammarco  as  Rafaele 

Copyright^  Matzene 


WOLF-FERRARI  95 

forgiven.  A  ray  of  moonlight  through  the  window  illuminates 
the  jewels,  which  he  takes  for  a  sign  of  the  Madonna's  mercy. 
After  a  farewell  song  to  his  mother  he  draws  his  stiletto  and 
kills  himself. 

The  principal  numbers  are  the  Neapolitan  songs  blended 
with  the  hymns  to  the  Virgin  in  the  street  scene;  Ge- 
narro's  song  to  the  Madonna,  Maliella's  ballad  of  the 
Canatella,  the  prayer  of  Genarro  and  his  mother,  and  the 
beautiful  intermezzo  based  upon  the  motive  of  the  prayer, 
in  the  first  act;  Carmela's  charming  aria,  "Wine  of  Salva- 
tore,"  the  dramatic  and  mystic  duet  for  Maliella  and  Genarro, 
and  the  love  scene  following,  and  Rafaele's  waltz-like  sere- 
nade, in  the  second;  the  opening  folk  music  in  the  den  of  the 
Camorrists,  the  two  dances,  "  Apache  "  and  Tarantelle, 
Rafaele's  Maliella  song,  and  Genarro's  final  appeal  to  the 
Virgin  and  farewell  to  his  mother,  in  the  third. 

The  story  of  the  opera  is  disagreeable  and  at  times  borders 
closely  upon  the  sensual,  and  the  details  of  the  closing  act 
are  unnecessarily  coarse  and  long  drawn  cut,  and  yet  the 
"  Jewels  of  the  Madonna "  is  Wolf-Ferrari's  master  work 
thus  far.  In  dramatic  power,  melodiousness,  passion,  and 
wonderful  control  of  orchestral  resources,  it  gives  ample 
promise  that  the  young  composer  will  yet  give  the  world 
great  music  wedded  to  a  great  and  noble  theme. 


FLOTOW    (FKIEDRICH    VON) 

Martha 

""\^ARTHA,"  opera  in  three  acts,  libretto  by  St.  Georges, 
ly A.  translated  into  German  by  Friedrich,  was  first  pre- 
duced  at  Vienna,  November  25,  18^7,  with  Mile.  Anna  Zerr 
in  the  title  role,  Herr  Ander  as  Lionel,  and  Carl  Formes  as 
Plunkett.  It  was  first  produced  in  English  and  Italian  at 
London  in  1858,  and  in  French  at  Paris  in  1865.  The  his- 
tory of  its  origin  is  interesting.  M.  de  St.  Georges,  at  the 
request  of  the  manager  of  the  Paris  Grand  Opera,  wrote,  in 
1842,  the  libretto  to  a  ballet  entitled  "  Lady  Henrietta,  or 
the  Servant  of  Greenwich,"  the  subject  being  suggested  to  him 
by  the  adventures  of  two  ladies  of  his  acquaintance  who  had 
mingled  with  servants  at  a  fair.  The  music  was  confided  to 
three  composers.  The  first  act  was  given  to  Herr  von  Flotow, 
the  second  to  Herr  Burgmuller,  and  the  third  to  M.  Deldeves. 
The  ballet  had  such  a  remarkable  success,  and  Flotow  was  so 
delighted  with  the  plot,  that  he  entreated  St.  Georges  to 
rewrite  it  for  an  opera.  The  latter  consented,  and  the  result 
of  their  collaboration  was  the  appearance  of  one  of  the  most 
popular  operas  which  has  ever  been  placed  upon  the  stage. 

The  scene  of  the  opera  is  laid  at  Richmond,  England,  and 
the  time  is  during  the  reign  of  Queen  Anne,  though  the  Italian 
version  places  it  in  the  fifteenth  century,  and  the  French  in 
the  nineteenth.  Lady  Henrietta,  an  attendant  upon  the  Queen, 
tired  of  the  amusements  of  court  life,  contrives  a  plan  to  visit 
the  servants'  fair  at  Richmond  disguised  as  a  servant-girl,  and 
accompanied  by  Nancy,  her  maid,  and  Sir  Tristan,  her  some- 
what aged  cousin,  who  is  also  her  devoted  admirer.  In  the 
first  three  scenes  their  plans  are  laid  much  to  the  disgust  of 


Sembrich  as  Martlia 

Copyright,  Aimi  Dupoiit 


FLOTOW  97 

Sir  Tristan,  who  is  to  pass  as  John,  while  his  fair  cousin 
masquerades  as  Martha.  The  duet  between  the  ladies  ("Of 
the  Knights  so  brave  and  charming ")  and  the  trio  with 
Tristan,  are  in  dance  time,  and  full  of  animation.  The  fourth 
scene  opens  in  the  market-place  at  Richmond,  where  the  people 
are  gathering  to  the  fair.  Thither  also  resort  Plunkett,  a 
farmer,  and  Lionel,  his  brother  by  adoption,  whose  parentage 
is  unknown,  and  who  has  no  souvenir  of  his  father  except  a 
ring  which  has  been  left  for  him,  with  instructions  to  present 
it  to  the  Queen  if  he  ever  finds  himself  in  trouble.  Lionel 
tells  his  story  in  an  aria  ("  Lost,  proscribed,  an  humble 
Stranger  ")  which  is  universally  popular.  They  have  come 
to  the  fair  to  procure  help  for  their  farm.  While  the  sheriff, 
according  to  law,  is  binding  the  girls  for  a  year's  service, 
Plunkett  and  Lionel  meet  Martha  and  Nancy,  and  are  so 
delighted  with  their  appearance  that  they  tender  them  the 
customary  bonus,  or  "  earnest-money,"  which  secures  them. 
Too  late  for  escape,  they  find  that  they  are  actually  engaged, 
and  they  are  obliged  to  drive  away  with  the  young  farmers, 
leaving  Sir  Tristan  in  despair. 

The  second  act  opens  in  the  farmhouse,  where  the  four 
have  arrived.  The  farmers  inquire  their  names,  and  seek  to 
find  out  what  they  can  do,  testing  them  first  at  the  spinning- 
wheel.  The  spinning  quartet  ("  When  the  Foot  the  Wheel 
turns  lightly  ")  is  very  gay  and  full  of  humor,  and  is  one  of 
the  most  delightful  concerted  numbers  in  the  opera.  The 
brothers  soon  find  that  their  new  servants  are  useless,  but 
they  are  so  pleased  with  them  th.at  they  decide  to  keep  them. 
At  last  Nancy,  in  a  pet,  kicks  her  wheel  over  and  runs  off, 
followed  by  Plunkett.  Lionel,  left  alone  with  Martha,  grows 
very  tender  to  the  new  servant,  and  at  last  finds  himself 
violently  in  love.  He  snatches  a  rose  from  her  bosom,  and 
refuses  to  return  it  unless  she  will  consent  to  sing.  She  re- 
plies with  the  familiar  ballad,  "  'T  is  the  last  Rose  of  Sum- 
mer," which  Flotow  has  interpolated  in  this  scene,  and  in  the 
performance  of  which  he  makes  a  charming  effect  by  intro- 
ducing the  tenor  in  the  close.  Her  singing  only  makes  him 
the  more  desperately  enamored,  and  he  asks  her  to  be  his 


98  THE    STANDARD    OPERAS 

wife  on  the  spot^  only  to  find  himself  the  victim  of  Martha's 
sporty  although  his  devotion  and  sincerity  have  made  a  deep 
impression  upon  her.  Plunkett  and  Nancy  at  last  return,  and 
another  charming  quartet  follows,  "  Midnight  sounds,"  better 
known  as  the  "  Good  Night  Quartet."  The  two  brothers 
retire,  but  Martha  and  Nancy,  aided  by  Tristan,  who  has 
followed  them  and  discovered  their  whereabouts,  make  good 
their  escape.  The  next  scene  opens  in  the  woods,  where 
several  farmers  are  drinking  and  carousing,  among  them 
Plunkett,  who  sings  a  rollicking  drinking-song  ("I  want  to 
ask  you  ").  Their  sjDort  is  interrupted  by  a  hunting-party, 
composed  of  the  Queen  and  her  court  ladies.  Plunkett  and 
Lionel  recognize  their  fugitive  servants  among  them,  though 
the  ladies  disclaim  all  knowledge  of  the  farmers.  Plunkett 
attempts  to  seize  Nancy,  but  the  huntresses  attack  him  and 
chase  him  away,  leaving  Lionel  and  Lady  Henrietta  together 
again.  The  scene  contains  two  of  the  most  beautiful  numbers 
in  the  opera,  —  the  tenor  solo,  "  Like  a  Dream  bright  and 
fair  "  ("  M'  appari  "  in  the  Italian  version),  and  a  romance 
for  soprano  ("  Here  in  deepest  Forest  Shadows  ")  ;  and  the 
act  closes  with  a  beautiful  concerted  finale,  quintet  and  chorus. 
In  this  finale  the  despairing  Lionel  bethinks  him  of  his  ring. 
He  gives  it  to  Plunkett,  desiring  him  to  present  it  to  the  Queen. 
By  means  of  the  jewel  it  is  discovered  that  he  is  the  only 
son  of  the  late  Earl  of  Derby,  and  she  orders  his  estates, 
of  which  he  has  been  unjustly  deprived,  to  be  restored  to 
him. 

The  last  act  is  not  important  in  a  musical  sense,  for  the 
climax  is  attained  in  the  previous  finale.  The  dramatic  de- 
nouement is  soon  reached,  and  the  Lady  Henrietta,  who  has 
for  some  time  been  seriously  in  love  with  Lionel,  is  at  last 
united  to  him ;  and  it  is  almost  needless  to  add  that  the  fortunes 
of  Plunkett  and  Nancy  are  also  joined.  The  charm  of 
"  Martha  "  is  its  liveliness  in  action  and  tunefulness  in  music. 
Though  not  a  great  opera  from  a  musical  point  of  view,  it 
is  one  of  the  most  popular  in  the  modern  repertory,  and 
though  few  others  have  been  performed  so  many  times,  it  still 
retains  that  popularity. 


FLOTOW  99 


Stradella 


"  Stradella,"  romantic  opera  in  three  acts,  was  first  written 
as  a  lyric  drama  and  produced  at  the  Palais  Royal  Theatre, 
Paris,  in  1837,  and  was  subsequently  rewritten  in  its  present 
form  under  the  title  of  "  Alessandro  Stradella  "  and  produced 
at  Hamburg,  December  30,  1844.  The  English  version,  which 
was  somewhat  altered  by  Bunn,  was  produced  in  London, 
June  6,  1846.  The  story  follows  the  historic  narrative  of 
Stradella,  the  Italian  musician,  except  in  the  denouement. 
Stradella  woos  and  wins  Leonora,  the  fair  ward  of  Bassi,  a 
rich  Venetian  nobleman,  with  whom  the  latter  is  himself  in 
love.  They  fl)'^  to  Rome  and  are  married.  Bassi  hires  two 
bravos,  Barbarino  and  Malvolio,  to  follow  them  and  kill 
Stradella.  They  track  him  to  his  house,  and  while  the  bridal 
party  are  absent  enter  and  conceal  themselves,  Bassi  being 
with  them.  Upon  this  occasion,  however,  they  do  not  wait 
to  accomplish  their  purpose.  Subsequently  they  gain  admis- 
sion again  in  the  guise  of  pilgrims,  and  are  hospitably  re- 
ceived by  Stradella.  In  the  next  scene  Stradella,  Leonora, 
and  the  two  bravos  are  together  in  the  same  apartment,  sing- 
ing the  praises  of  their  native  Italy.  During  their  laudations 
the  chorus  of  a  band  of  pilgrims  on  their  way  to  the  shrine 
of  the  Virgin  is  heard,  and  Leonora  and  Stradella  go  out  to 
greet  them.  The  bravos  have  been  so  moved  by  Stradella's 
singing  that  they  hesitate  in  their  purpose.  Bassi  enters  and 
upbraids  them,  and  finally,  by  the  proffer  of  a  still  larger 
sum,  induces  them  to  consent  to  carry  out  his  design.  They 
conceal  themselves.  Stradella  returns  and  rehearses  a  Hymn 
to  the  Virgin  which  he  is  to  sing  at  the  festivities  on  the 
morrow.  Its  exquisite  beauty  touches  them  so  deeply  that 
they  rush  out  of  their  hiding-place,  and  falling  at  his  feet 
confess  the  object  of  their  visit  and  implore  his  forgiveness. 
Leonora  enters,  and  is  astonished  to  find  her  guardian  present. 
Explanations  follow,  a  reconciliation  is  effected,  and  the  lovers 
are  happy.  The  denouement  differs  from  the  historical  story, 
which,  according  to  Bonnet,  Bourdelot,  and  others,  ends  with  the 
death  of  the  lovers  at  Genoa,  at  the  hands  of  the  hired  assassins. 


100  THE    STANDARD    OPERAS 

The  opera  is  one  of  the  most  charming  of  Flotow's  works 
for  its  apt  union  of  very  melodious  music  with  dramatic  in- 
terest. Its  most  beautiful  numbers  are  Stradella's  serenade 
("  Horch,  Liebchen,  horch  !  "),  the  following  nocturne  ("  Durch 
die  Thaler,  iiber  Hiigel  "),  the  brilliant  and  animated  carnival 
chorus  ("  Freudesausen,  Jubclbrausen  ")  of  the  masqueraders 
who  assist  in  the  elopement,  in  the  first  act;  the  aria  of 
Leonora  in  her  bridal  chamber  ("  Seid  meiner  Wonne  "),  the 
rollicking  drinking-song  of  the  two  bravos  ("  'Raus  mit  dem 
Nass  aus  dem  Fass  ")  and  the  bandit  ballad  ("  Tief  in  den 
Abruzzen  ")  sung  by  Stradella,  in  the  second  act;  an  ex- 
quisite terzetto  ("  Sag  doch  an,  Freund  Barbarino ")  sung 
by  Bassi  and  the  two  bravos  when  they  hesitate  to  perform 
their  work,  and  Stradella's  lovely  Hymn  to  the  Virgin  ("  Jung- 
frau  Maria!    Himmlisch  verklarte  "),  in  the  last  act. 


FRANCHETTI    (ALBERTO) 

Germania 

THE  name  of  Franchetti  is  not  an  unfamiliar  one  in  the 
American  concert-room  and  opera  house.  More  than 
twenty  years  ago  Theodore  Thomas  included  one  of  his  sym- 
phonies in  a  New  York  Philharmonic  programme,  and  in  the 
following  year  produced  the  prelude  to  his  opera  "  Asraele." 
"  Germania/'  his  last  important  work,  was  brought  out  for 
the  first  time  in  Milan  March  11,  1902,  and  in  this  country 
January  22,  1910.  The  composer  is  of  the  Rothschild  family 
on  his  mother's  side,  a  baron  by  rank  and  very  wealthy,  but 
notwithstanding  these  drawbacks  has  shown  himself  a  serious, 
industrious,  and  talented  musician.  He  belongs  neither  to 
the  advanced  yoimg  Italian  school  nor  to  the  Wagner  school. 
In  this  regard  he  may  be  reckoned  an  independent  composer, 
though  in  Italy  he  is  regarded  as  the  Italian  Meyerbeer, 
probably  from  his  love  for  the  spectacular  and  great  masses 
of  sound. 

The  libretto  of  "  Germania  "  was  written  by  Luigi  Illica, 
and  its  incidents  are  taken  from  the  days  of  the  Napoleonic 
invasion  of  Germany.  It  is  peculiarly  interesting  for  its 
array  of  historical  characters,  and  for  the  selections  from 
German  folksong  which  are  skilfully  employed  by  the 
composer. 

The  opera  is  arranged  in  a  prologue,  two  acts,  and  epi- 
logue. The  prologue  opens  in  an  old  Nuremberg  mill,  the 
hiding-place  of  Palm,  and  also  the  place  where  the  incen- 
diary literature  is  printed.  Several  of  the  student  patriots 
are  gathered  there  and  in  their  midst  suddenly  appears  Ricke, 
who  has  been  wronged  by  Karl  Worms,  one  of  the  students^ 


102  THE    STANDARD    OPERAS 

and  is  in  love  with  Frederick  Loewe,  another  of  the  band 
who  is  at  the  front.  Loewe  returns,  however,  and  implores 
Ricke  to  become  his  bride,  just  as  the  police  enter  the  mill 
and  arrest  Palm. 

The  opening  of  the  first  act  discloses  a  hut  in  the  Black 
Forest,  where  Loewe  and  Ricke  are  in  concealment,  and  are 
to  be  married  that  day.  At  the  conclusion  of  the  ceremony 
Worms  arrives,  fatigued  with  his  wandering,  and  asks  for 
shelter,  but  departs  as  he  recognizes  the  married  couple. 
Ricke,  overcome  by  remorse,  leaves  her  husband. 

The  second  act  opens  in  the  secret  resort  of  the  Louise 
band,  a  patriotic  order  in  Konigsberg.  Karl  Worms  is  the 
leader,  and  in  the  midst  of  their  discussions  a  voice  is  raised 
against  Worms.  When  he  discovers  it  is  that  of  Loewe,  in- 
suits  are  exchanged  and  a  duel  is  prevented  only  by  the 
sudden  appearance  of  Queen  Louise,  leading  Prince  William. 
She  interposes  and  peace  is  preserved. 

The  epilogue  discloses  the  battlefield  at  Leipsic.  Ricke, 
wandering  over  the  field,  discovers  Loewe  mortally  wounded. 
He  declares  to  her  that  he  knows  she  is  innocent  and  pleads 
with  her  to  forgive  Worms,  who  fell  near  him.  She  discovers 
the  latter's  body,  and  as  she  stands  there  Napoleon  and  his 
army  appear  in  retreat.  Loewe  raises  himself,  apostrophizes 
Germany,  and  falls  back  dead. 

The  spectacular  nature  of  the  story  and  the  large  number 
of  persons  engaged  upon  the  stage  afford  Franchetti  the  op- 
portunity for  just  such  a  score  as  is  best  suited  to  his  talent. 
While  not  appealing  deeply  to  the  emotions  nor  impressing 
by  its  elevation  or  nobility,  still  it  is  music  written  in  a  skilful 
and  scholarly  manner  and  shows  the  effect  of  his  early  Ger- 
man training,  —  an  unusual  quality  in  an  Italian  musician. 
One  of  the  most  irajDressive  passages  in  the  opera  is  that  of 
the  singing  of  the  Hymn  of  Liberty  by  the  patriots. 


GAUNE    (LOUIS) 

Hans,  the  Flute  Player 

HANS,  the  Flute  Player/'  which  had  its  premiere  at 
Monte  Carlo,  and  soon  became  a  Parisian  favorite,  was 
brought  out  in  New  York  for  the  first  time  in  this  country 
in  the  Spring  season  of  1911.  The  music  is  by  Louis  Gaune, 
a  German  composer,  and  the  libretto  by  Maurice  Vaucair  and 
Georges  Mitchell.  In  the  first  American  performance  Georges 
Chadal  of  the  Paris  Opera  Comique  took  the  part  of  Hans ; 
Sophie  Brandt  that  of  Lisbeth,  the  Burgomaster's  daughter; 
Frank  Doane,  the  comedy  part  of  Van  Patt;  Frank  Polloch, 
that  of  Toris,  the  poet  and  dollmaker;  George  W.  Callahan 
that  of  the  Burgomaster;  Alice  Gentle  that  of  Frau  Pipper- 
man,  the  Burgomaster's  wife ;  Olive  Ulrich  that  of  Ketchen, 
and  Blanche  Lipton  that  of  Else. 

The  story  of  "  Hans,  the  Flute  Player  "  is  in  some  ways 
reminiscent  of  "  The  Pied  Piper  of  Hamelin."  Yoris,  the 
artist  and  poet,  living  at  Milkatz  among  an  inartistic  and 
money-loving  people,  shows  his  disgust  at  their  commercial 
spirit  by  making  a  life-sized  doll  which  is  an  exact  duplicate  of 
Lisbeth,  his  sweetheart,  daughter  of  the  Burgomaster,  and 
exhibits  it  in  the  market-place.  The  enraged  villagers  de- 
stroy it  just  as  the  migratory  Hans  makes  his  appearance. 
He  resolves  to  avenge  the  artist  by  enticing  the  cats  from 
the  houses  and  releasing  the  mice  which  he  carries  in  a  cage. 
The  latter  cause  great  destruction.  By  the  aid  of  his  magic 
flute  he  also  causes  the  serious  people  of  the  village  to  cut 
all  kinds  of  ridiculous  capers.  The  mice  multiply  so  fast 
that  a  plot  is  made  to  steal  his  flute,  and  Lisbeth  consents  to 
the  theft  upon  the  condition  that  the  aldermen  allow  her  to 


104  THE    STANDARD    OPERAS 

marry  Yoris.  Hans  unwittingly  permits  Lisbeth  to  get  the 
flute,  loses  his  magical  power,  and  is  dragged  off  to  jail. 
This  only  leads  to  more  misfortunes,  for  the  village  officials, 
hoping  to  repair  the  damage  made  by  the  mice  by  playing  the 
flute,  cause  new  castastrophes.  At  last  the  Burgomaster  in 
despair  permits  the  flute  to  be  returned  to  Hans,  with  an 
apology.  Hans  agrees  to  remedy  the  situation  upon  two 
conditions:  first,  that  Yoris  shall  be  free  and  independent, 
and,  second,  that  the  people  shall  devote  themselves  to  the 
manufacture  of  dolls,  that  the  maker  of  the  handsomest  one 
shall  have  the  hand  of  Lisbeth  as  a  prize,  and  that  he  shall 
be  allowed  to  choose  tlie  doll  he  likes  best  in  the  exhibition 
and  take  it  away  with  him.  Yoris  is  not  at  the  exhibition,  but 
when  he  subsequently  appears  it  is  learned  that  he  has  been 
away  studying  commercial  business  so  that  he  may  gain  the 
Burgomaster's  consent  to  his  marriage  with  Lisbeth.  The 
procession  of  the  dolls  begins,  but  only  two  of  them  are  at 
all  worthy,  and  Hans  is  forced  to  reanimate  the  old  dolls 
made  by  their  forefathers.  Filled  with  new  life,  they  march 
down  from  the  museum  and  begin  a  dance.  The  last  one 
in  the  procession  is  that  of  Lisbeth.  Hans  awards  it  the 
prize  and  it  is  given  to  Yoris.  Suddenly  it  moves  its  head 
and  smiles,  and  the  villagers  discover  that  it  is  Lisbeth  her- 
self. Hans  gives  her  to  Yoris  and  the  marriage  is  celebrated, 
and  Hans  leaves  with  his  magic  flute,  declaring:  "  I  have 
many  other  countries  to  visit  and  other  nations  to  convert, 
like  yourselves,  to  the  love  of  art  and  goodness,  and  the  mer- 
chant of  the  ideas  once  on  his  way  must  never  tarry."  It 
is  a  pretty  little  story  prettily  set  to  melodious  music  which 
does  not  need  detailed  analysis. 


GIORDANO    (UMBERTO) 

Andrea  Chenier 

THE  opera  of  "  Andrea  Chenier  "  by  Umberto  Giordano 
was  first  produced  in  Milan  in  1896.  The  libretto  is  by 
Luigi  Illica^  the  place  Paris,  and  the  time  that  of  the  French 
Revolution.     The  opera  is  arranged  in  four  acts. 

The  first  act  opens  in  the  ballroom  of  the  Chateau  de 
Coigny  and  discloses  Gerard,  who  is  a  revolutionary  and 
anxious  to  escape  from  domestic  service,  setting  the  ballroom 
to  order.  The  Countess  enters  with  INIaddalena  and  Bersi 
her  maid,  and  is  followed  by  guests,  among  them  the  Abbe, 
Fleville,  and  Chenier,  a  poet.  After  some  gay  chatter  the 
music  strikes  up  for  the  dance  and  is  interrupted  by  Gerard, 
who  appears  at  the  head  of  a  forlorn-looking  crowd,  who 
are  ordered  out  by  the  Countess,  while  Gerard's  father  in- 
tercedes for  him. 

The  second  act  opens  in  the  Cafe  Hottot  and  reveals  Chenier 
sitting  at  one  table  and  Bersi  and  a  spy  at  another.  The  spy 
is  watching  both  of  them.  At  this  moment  a  friend  brings 
Chenier  his  passport  and  urges  him  to  quit  Paris  as  he  is  to 
meet  that  day  an  unknown  lady  with  whom  he  is  in  love. 
A  mob  headed  by  Robespierre  passes  the  cafe,  after  which 
Bersi  requests  Chenier  to  await  a  lady  called  "  Speranza." 
In  the  darkness  Maddalena,  watched  by  the  spy,  comes  to 
meet  Chenier.  As  she  throws  back  her  disguise,  he  recognizes 
her  and  the  spy  goes  to  report  to  Gerard.  They  declare  their 
love  and  are  about  to  fly  when  Gerard  intercepts  them  and 
tries  to  seize  her.  In  the  encounter  which  ensues,  Gerard 
is  woimded,  but  warns  Chenier  he  is  proscribed  and  implores 
him  to  save  Maddalena.  Chenier  flies,  and  the  mob  surrounds 
Gerard,  who  pretends  he  does  not  know  who  wounded  him. 


106  THE    STANDARD    OPERAS 

The  third  act  opens  in  the  Revolutionary  Tribunal.  While 
a  member  is  addressing  it,  Gerard,  though  suffering  from  his 
wound,  appears  and  pleads  for  money  for  the  cause.  The  spy 
notifies  Gerard  that  Chenier  has  been  arrested  and  that  Mad- 
dalena  is  near  by.  He  also  urges  Gerard  to  inform  against 
Chenier,  who  signs  the  necessary  papers.  At  this  moment 
Maddalena  appears.  Gerard  declares  that  Chenier  is  in  prison 
and  avows  his  love  for  her.  Maddalena  seeks  to  escape  and 
offers  her  honor  for  Chenier's  life,  but  Chenier  is  summoned 
for  trial  and  denounced  as  a  traitor.  He  denies  the  charge, 
and  as  he  is  making  his  defence  Gerard  cries  out  that  he  had 
made  his  accusations  from  motives  of  jealousy.  The  mob, 
however,  demands  vengeance,  and  Chenier  is  led  away. 

The  last  act  opens  at  midnight  in  the  prison  of  Saint 
Lazare,  where  Chenier  sits  writing.  Ronches,  his  friend,  is 
with  him,  and  Chenier  reads  his  poem  to  him.  Maddalena 
enters  with  Gerard  and  bribes  the  jailer  to  put  her  name  on 
the  death  list  in  place  of  another  woman,  that  she  may  die 
with  her  lover.     They  go  to  the  executioner  together. 

It  is  about  thirteen  years  ago  that  "  Andrea  Chenier  "  was 
first  given  in  this  country,  and  when  it  was  recently  revived 
it  still  preserved  its  charm.  The  text  is  thoroughly  dramatic 
and  the  music  suits  it.  It  abounds  in  melodic  passages  and 
is  also  enlivened  by  the  introduction  of  the  "  Marseillaise," 
the  "  Ca  Ira,"  and  "  Carmagnola,"  the  war  cries  of  the  Revo- 
lution. The  most  striking  points  of  the  opera  are  Gerard's 
monologue  in  the  Tribunal  Chamber  and  the  subsequent  duet 
with  Maddalena,  the  Shepherd's  Song  in  the  first  act,  Chenier's 
solos  both  in  the  first  and  second  acts,  and  the  love  duet  with 
Maddalena. 


GLUCK    (CHRISTOPH   WILLIE ALD) 

Orpheus 

ORPHEUS/'  the  libretto  by  the  Italian  poet  Calzabigi, 
■was  first  produced  at  Vienna^  October  5,  1762,  and  for 
the  first  time  outlined  the  new  ideas  which  Gluck  had  ad- 
vanced for  the  reform  of  the  lyric  stage.  Twelve  years  later 
the  composer  revised  the  work.  Several  new  numbers  were 
added,  its  acts  were  extended  to  three,  and  the  principal  role 
was  rewritten  for  a  high  tenor  in  place  of  the  alto,  to  whom 
it  had  been  originally  assigned.  In  this  form  it  was  brought 
out  at  the  Paris  Academic,  August  2,  1774.  In  1859  it  was 
revived  in  Paris,  for  which  occasion  Berlioz  restored  the 
original  alto  part  for  Mme.  Viardot-Garcia.  Its  performances 
in  this  country  by  the  American  Opera  Troupe,  during  the 
season  of  1885-1886,  under  the  direction  of  Mr.  Theodore 
Thomas,  are  familiar  matters  of  operatic  history.  The  three 
soloists  during  that  season  were  Helene  Hastreiter,  Emma 
Juch,  and  Minnie  Dilthey,  and  its  first  performance  was  in 
New  York,  January  8,  1886. 

The  story,  except  in  its  denouement,  closely  follows  the  an- 
tique legend.  After  performing  the  funeral  rites  of  Euryd- 
ice,  Orpheus  resolves  to  seek  for  her  in  the  world  of  Shades, 
having  received  permission  from  Zeus  upon  condition  that  he 
will  not  look  upon  her  until  they  have  safely  returned. 
Orpheus  descends  to  Hades;  and  though  his  way  is  barred 
by  phantoms,  his  pleading  appeals  and  the  tender  tones  of 
his  lute  induce  them  to  make  way  for  him.  He  finds  Eurydice 
in  the  Elysian  fields,  and  taking  her  by  the  hand  leads  her 
on  to  the  upper  world.  In  a  fatal  moment  he  yields  to  her 
desire  to  see  him,  and  she  sinks  back  lifeless.     Love,  however, 


108  THE    STANDARD    OPERAS 

comes  to  the  rescue,  and  full  of  compassion,  restores  her. 
Thus  the  happy  lovers  are  reunited;  and  the  opera  closes 
without  the  tragic  denouement  of  the  old  myth.  In  the  Amer- 
ican performances  the  opera  was  divided  into  four  acts,  which 
is  the  order  followed  here. 

The  short  overture  is  characterized  by  a  grandeur  and 
solemnity  that  well  befit  the  pathetic  story.  The  curtain 
rises  upon  a  grotto  containing  the  tomb  of  Eurydice,  against 
which  Orpheus  mournfully  leans,  while  upon  it  steps  youths 
and  maidens  are  strewing  flowers  as  they  chant  the  sombre 
song,  "  Ah !  in  our  still  and  mournful  Meadow."  The  sad 
wail  of  Orpheus  upon  the  single  word  "  Eurj^dice  "  is  heard 
through  its  strains,  which  continually  increase  in  solemnity. 
At  last,  as  if  too  much  to  bear,  Orpheus  interrupts  their 
threnody  with  the  words,  "  The  Sounds  of  your  Lament  in- 
crease my  bitter  Anguish."  The  chorus  in  reply  resumes  its 
melancholy  tribute  to  Eurydice  and  tlien  retires,  leaving  Or- 
pheus alone,  who  in  a  monologue  full  of  pathos  and  sorrow 
("My  Eurydice!  my  Eurydice!  lost  forever"),  sings  his 
grief  and  implores  the  gods  to  restore  his  loved  one.  In 
answer  to  his  prayer.  Amor,  god  of  love,  appears  and  an- 
nounces that  the  gods  have  been  moved  to  compassion;  and 
if  his  song  and  lyre  can  appease  the  phantoms,  death  shall 
give  back  Eurydice  upon  the  conditions  already  named.  The 
act  closes  with  tlie  joyful  song  of  Orpheus,  "Will  pitying 
Heaven  with  wondrous  Favor  restore  mine  own  ?  " 

The  second  act  opens  in  the  abysses  of  the  underworld. 
Flames  shoot  up  amid  great  masses  of  rock  and  from  yawning 
caverns,  throwing  their  lurid  glare  upon  the  phantoms,  who, 
writhing  in  furious  indignation,  demand  in  wild  and  threaten- 
ing chorus,  as  the  tones  of  Orpheus's  lyre  are  heard,  "  Who 
through  this  awful  Place,  thinking  alive  to  pass,  rashly  dares 
venture  here?  "  Madly  they  call  upon  Cerberus  "  to  kill  thy 
new  Prey  here."  The  barking  of  the  triple-headed  monster 
is  heard  in  the  tones  of  the  orchestra.  They  surround  Or- 
pheus as  he  approaches,  and  with  renewed  clamor  continue 
this  thrilling  chorus.  In  the  midst  of  its  cruel  intensity  is 
heard  the  appealing  voice  of  Orpheus   ("  In  Pity  be  moved 


Schalchi  as  Orpheus 


GLUCK  109 

by  my  Grief").  With  overwhelming  wrath  comes  the  reiter- 
ated monosyllable,  "  No,"  from  the  Furies,  —  one  of  the  most 
daring  and  powerful  effects  ever  made  in  dramatic  music,  — 
followed  by  another  appalling  chorus,  as  they  announce  to 
him,  "  These  are  the  Depths  of  Hell,  where  the  Avengers 
dwell."  At  last  they  are  touched  by  the  charm  of  his  music 
and  the  sorrow  of  his  story;  and  as  their  fury  dies  away, 
the  song  of  Orpheus  grows  more  exultant  as  he  contemplates 
the  reunion  with  Eurydice. 

The  gates  of  the  lower  world  are  opened,  and  in  the  third 
act  Orpheus  enters  Elysium.  The  scene  begins  with  a  tender, 
lovely  song  by  Eurydice  and  her  companions  ("  In  this 
tranquil  and  lovely  Abode  of  the  Blest  "),  the  melody  taken 
by  the  flute  with  string  accompaniment.  All  is  bright  and 
cheerful  and  in  striking  contrast  with  the  gloom  and  terror 
of  the  Stygian  scene  we  have  just  left.  After  a  short  recita- 
tive ("  How  mild  a  Day,  without  a  Noon  "),  Orpheus  seeks 
her.  She  is  brought  to  him  by  a  crowd  of  shadows;  and 
breaking  out  in  joyful  song  he  takes  her  by  the  hand  and 
turns  his  face  to  the  upper  world. 

The  fourth  act  is  almost  entirely  an  impassioned  duet 
between  Orpheus  and  Eurydice.  He  releases  her  hand  for 
fear  that  he  may  turn  and  look  upon  her.  Eurydice  chides 
him  ("Am  I  changed  or  grown  old  that  thou  wilt  not  be- 
hold me?").  In  vain  he  urges  her  to  follow  him.  She 
upbraids  him  for  his  coldness,  and  demands  one  glance  as  a 
test  of  his  love.  He  still  refuses,  and  then  she  sorrowfully 
bids  him  farewell.  At  last,  overcome  with  weariness  and 
sorrow,  he  gazes  upon  her;  and  at  that  instant  she  falls  life- 
less. Then  Orpheus  breaks  out  in  that  immortal  song,  the 
"Che  faro  senz'  Eurydice"  ("I  have  lost  my  Eurydice"), 
the  beauty  and  pathos  of  which  neither  time  nor  change  of 
musical  custom  can  ever  mar.  He  is  about  to  take  his  life 
with  his  sword;  but  Amor  suddenly  appears  upon  the  scene, 
stays  his  hand,  and  tells  him  the  gods  are  moved  by  his 
sufferings.  He  restores  Eurydice  to  life,  and  the  opera  closes 
with  a  beautiful  terzetto  in  Love's  temple.  The  denouement 
is  followed  by  ballet  music. 


GOLDMARK    (CARL) 

The  Queen  of  Sheba 

THE   Queen  of  Sheba  "  was  first  produced  in  Vienna, 
March   10,   1875,  and  was  first  heard  in  this  country 
at  New  York,  December  2,  1885,  when  the  cast  was  as  follows: 

King  Solomon Herr  Robinson. 

High  Priest Herr  Fischer. 

Svlamith Frl.  Lehmann. 

Assad Herr  Stritt. 

Baal  Hanan Herr  Alexi. 

Queen  of  Sheba Frau  Krameh-Weidl. 

Astaroth Frl.  Brandt. 

The  libretto  by  Mosenthal  is  one  of  rare  excellence  in  its 
skilful  treatment  of  situations  and  arrangement  of  scenes 
with  the  view  to  spectacular  and  dramatic  elTect.  The  Biblical 
story  has  but  little  to  do  with  the  action  of  the  opera  beyond 
the  mere  fact  of  the  famous  visit  of  the  Queen  of  Sheba  to 
Solomon.  The  stirring  episodes  during  the  journey  and  the 
visit  spring  from  the  librettist's  imagination.  The  story  in 
substance  is  as  follows : 

King  Solomon,  learning  of  the  Queen's  intention  to  visit 
him,  sends  his  favorite  courtier  Assad  to  escort  her.  While 
she  waits  outside  the  gates  of  Jerusalem,  Assad  announces  her 
arrival  to  the  King  and  Sulamith,  the  daughter  of  the  high 
priest,  to  whom  the  courtier  is  affianced.  Observing  his  dis- 
turbed looks,  the  King,  after  dismissing  liis  attendants,  in- 
quires the  cause.  Assad  replies  that  on  their  journey  through 
the  forest  he  had  encountered  a  nymph  bathing  whose  beauty 
had  so  impressed  him  as  to  banish  even  the  thoughts  of  his 
affianced.  The  wise  Solomon  counsels  him  to  marry  Sulamith 
at  once.  Meanwhile  the  Queen  comes  into  the  King's  presence, 
and  as  she  lifts  her  veil  reveals  the  unknown  fair  one.     She 


GOLDMARK  111 

affects  ignorance  of  Assad's  passion;  but  when  she  learns 
that  he  is  to  wed  Sulamith  love  for  him  springs  up  in  her 
own  breast.  Upon  the  day  of  the  wedding  ceremony  Assad, 
carried  away  by  his  longing  for  the  Queen,  declares  her  to 
be  his  divinity,  and  is  condemned  to  death  for  profaning  the 
Temple.  Both  the  Queen  and  Sulamith  appeal  to  the  King 
for  mercy.  He  consents  at  last  to  save  his  life,  but  banishes 
him  to  the  desert.  The  Queen  seeks  him  there,  and  makes 
an  avowal  of  her  love;  but  Assad  repulses  her.  As  Sulamith 
comes  upon  the  scene  a  simoom  sweeps  across  the  desert. 
They  perish  in  each  other's  arms;  while  in  a  mirage  the 
Queen  and  her  attendants  are  seen  journeying  to  their  home. 

The  first  act  opens  in  the  great  hall  of  Solomon's  palace 
with  a  brilliant,  joyous  chorus  ("  Open  the  Halls,  adorn  the 
Portals  ")  in  praise  of  the  King's  glory.  After  the  entrance 
of  the  high  priest,  Sulamith  sings  a  fascinating  bridal  song 
("My  own  Assad  returns"),  richly  Oriental  both  in  music 
and  sentiment,  dreamy  and  luxurious  in  its  tone,  and  yet  full 
of  joyous  expectation,  with  characteristic  choral  refrain  and 
dainty  accompaniment.  The  fourth  and  fifth  scenes  are  full 
of  agitation  and  unrest,  and  lead  up  to  Assad's  explanation 
of  his  perturbed  condition  ("  At  Lebanon's  Foot  I  met  Arabia's 
Queen  "),  a  monologue  aria  of  rich,  glowing  color,  and  reach- 
ing a  fine  dramatic  climax  as  it  progresses  from  its  sensuous 
opening  to  the  passionate  intensity  of  its  finale.  It  is  fol- 
lowed by  the  entrance  of  the  Queen,  accompanied  by  a  bril- 
liant march  and  a  jubilant  chorus  ("  To  the  Sun  of  the 
South  our  Welcome  we  bring ")  and  a  stirring  concerted 
number,  describing  the  recognition  of  the  Queen  by  Assad; 
after  which  the  chorus  resumes  its  jubilant  strain,  bringing 
the  act  to  a  close. 

The  second  act  opens  in  the  gardens  of  the  palace  and 
discloses  the  Queen,  who  gives  expression  to  her  love  for 
Assad  and  her  hatred  of  Sulamith  in  an  impassioned  aria 
("Let  me  from  the  festal  Splendor").  In  the  second  scene 
Astaroth,  her  slave,  appears  and  lures  Assad  by  a  weird 
strain,  which  is  one  of  the  most  effective  passages  in  the 
opera  ("As  the  Heron  calls  in  the  Reeds").     After  a  short 


112  THE    STANDARD    OPERAS 

arioso  by  Assad  ("  Magical  Sounds,  intoxicating  Fragrance  "), 
a  passionate  duet  with  the  Queen  follows,  interrupted  by  the 
call  of  the  Temple-guard  to  jorayer.  The  scene  changes  to 
the  interior  of  the  sanctuary  with  its  religious  service ;  and 
with  it  the  music  changes  also  to  solemn  Hebrew  melodies 
with  the  accompaniment  of  the  sacred  instruments,  leading  up 
to  the  stirring  finale  in  which  Assad  declares  his  passion  for 
the  Queen,  amid  choruses  of  execration  by  the  people. 

The  third  act  opens  in  the  banquet-hall  upon  a  scene  of 
festivity  introduced  by  the  graceful  bee  dance  of  the  Almas. 
It  is  followed  by  the  powerful  appeal  of  the  Queen  for 
Assad's  life,  rising  to  an  intensely  dramatic  pitch  as  she 
warns  the  King  of  the  revenge  of  her  armed  hosts  ("  When 
Sheba's  iron  Lances  splinter  and  Zion's  Throne  in  Ruins 
falls  ").  In  sad  contrast  comes  the  mournful  chant  which 
accompanies  Sulamith  as  she  passes  to  the  vestal's  home 
("  The  Hour  that  robbed  me  of  him "),  and  ends  in  her 
despairing  cry  rising  above  the  chorus  of  attendants  as 
Solomon  also   refuses   her  petition. 

The  last  act  passes  in  the  desert.  Beneath  a  solitary  palm 
tree  Assad  laments  the  destiny  which  pursues  him  ("  Whither 
shall  I  wend  my  weary  Steps?").  In  the  next  scene  the 
Queen  appears,  and  an  agitated  duet  follows,  ending  witli 
her  repulse.  Assad  in  despair  calls  upon  death  to  relieve 
him.  The  sky  darkens.  Clouds  of  sand  envelop  the  fugitive. 
The  palm  bends  before  the  blast  as  the  simoom  sweeps  by. 
The  storm  at  last  subsides.  The  sky  grows  brighter;  and 
the  Queen  and  her  attendants,  with  their  elephants  and 
camels,  appear  in  a  mirage,  journeying  eastward,  as  Sulamith 
and  her  lover  expire  in  each  other's  arms.  As  their  duet 
dies  away,  the  chorus  of  maidens  brings  the  act  to  a  close 
v/ith  a  few  strains  from  the  love-song  in  the  first  act. 

The   Cricket  on   the  Hearth 

"Heimchen  am  Herd,"  or  "The  Cricket  on  the  Hearth," 
was  written  by  Carl  Goldmark,  the  text  by  Willner,  and 
was    first   produced   at   Berlin   in    1896,   but   it   did   not   find 


GOLDMARK  113 

its  way  to  this  country  until  1910.  It  is  divided  into  three 
acts,  the  story  closely  following'  Dickens'  well-known 
tale. 

The  first  act  opens  in  the  home  of  John  Perrybingle  with 
a  prologue  by  the  elves,  followed  by  a  song  by  the  cricket, 
the  dweller  on  the  hearth.  Dot  tells  the  cricket  the  secret 
of  the  child.  May,  the  orphan,  lamenting  her  departed  lover, 
grieves  over  her  coming  marriage  to  old  Tackleton.  Mean- 
while John  comes  home,  bringing  Edward,  her  lover,  in  the 
disguise  of  a  sailor. 

The  second  act  transpires  in  a  garden,  disclosing  May  and 
Tackleton  at  supper,  the  latter  very  jealous  of  this  mysteri- 
ous newcomer.  Edward  reveals  himself  to  Dot,  and  John  in 
turn  becomes  so  jealous  of  him  that  he  is  bent  upon  killing 
him.  But  the  cricket  charms  him  to  sleep  and  in  his 
sleep  he  dreams  that  he  is  in  a  garden  peopled  by  elves  and 
that  he  is  to  be  a  happy  father. 

The  third  act  opens  in  John's  home,  and  May,  convinced 
of  Edward's  loyalty,  leaves  with  him  for  the  marriage  cere- 
mony, in  spite  of  Tackleton's  effort  to  prevent  it.  Dot  tells 
John  her  secret  and  he  too  is  reconciled,  and  a  tableau  of 
the  happy  quartet  closes  the  scene. 

As  compared  with  the  operas  of  impression  and  the  efforts 
of  the  advanced  composers  to  make  the  orchestration  tell  the 
story  without  the  aid  of  the  conventional  melody,  "  The  Cricket 
on  the  Hearth  "  seems  old-fashioned  enough.  It  is  a  simple, 
charming  story,  illustrated  by  simple,  charming,  tuneful  music 
that  appeals  to  the  heart  rather  than  to  the  head.  It  is  all 
fresh  and  spontaneous  from  beginning  to  end,  and  story  and 
music  are  perfectly  blended.  The  special  points  of  interest 
are  the  chorus  of  elves,  the  cricket's  song,  "  I  am  the  Cricket," 
and  the  home  song  in  the  first  act;  the  quintet.  Dot's  dance, 
and  cricket's  song  in  the  second;  and  the  prelude,  the  basis 
of  which  is  a  German  folk-song,  Edward's  song  of  the  sea, 
and  the  marriage  choruses  in  the  finale  of  the  third. 


GOUNOD   (CHARLES   FRANCOIS) 


Faust 

"  TT^AUST,"  grand  opera  in  five  acts,  words  by  Barbier  and 
M.       Carre,  founded  upon  Goethe's  tragedy,  was  first  pro- 
duced at  the  Theatre  Lyrique,  Paris,  March   19,   1859,  with 
the  following  cast  of  the  principal  parts: 

Marguerite Mme.  Miolan-Cabvalho. 

Siebel Mile.  Faivhe. 

Faust M.  Barbot. 

Valentin M.  Regnal. 

Me-phisto-pheles M.  Balanque. 

Martha Mme.  DucLOS. 

The  opera  was  first  produced  in  London  as  "  Faust," 
June  11,  1863;  in  English,  January  23,  18G4;  and  in  Ger- 
many as  "  Margarethe." 

The  story  of  the  opera  follows  Goethe's  tragedy  very  closely, 
and  is  confined  to  the  first  part.  It  may  be  briefly  told: 
Faust,  an  aged  German  student,  satiated  with  human  knowl- 
edge and  despairing  of  his  ability  to  unravel  the  secrets  of 
nature,  summons  the  evil  spirit  Mephistopheles  to  his  as- 
sistance, and  contracts  to  give  him  his  soul  in  exchange  for 
a  restoration  to  youth,  Mephistopheles  effects  the  transforma- 
tion, and  reveals  to  him  the  vision  of  Marguerite,  a  beautiful 
village  maiden,  with  whom  Faust  at  once  falls  in  love.  They 
set  out  upon  their  travels  and  encounter  her  at  the  Kerraesse. 
She  has  been  left  by  her  brother  Valentin,  a  soldier,  in  care 
of  Dame  Martha,  who  proves  herself  a  careless  guardian. 
Their  first  meeting  is  a  casual  one;  but  subsequently  he  finds 
her  in  her  garden,  and  with  the  help  of  the  subtle  Mephis- 
topheles succeeds  in  engaging  the  young  girl's  affection.  Her 
simple  lover,  Siebel,  is  discarded,  and  his  nosegay  is  thrown 
away   at  sight  of  the  jewels   with   which   Faust  tempts   her. 


Melba  as  Marguerite 

Copyright,  Aiuie  Dupont 


GOUNOD  115 

When  Valentin  returns  from  the  wars  he  learns  of  her 
temptation  and  subsequent  ruin.  He  challenges  the  seducer, 
and  in  the  encounter  is  slain  by  the  intervention  of  Mephis- 
topheles.  Overcome  by  the  horror  of  her  situation.  Marguerite 
becomes  insane,  and  in  her  frenzy  kills  her  child.  She  is 
thrown  into  prison,  where  Faust  and  Mephistopheles  find  her. 
Faust  urges  her  to  fly  with  them,  but  she  refuses,  and  places 
her  reliance  for  salvation  upon  earnest  prayer,  and  sorrow 
for  the  wrong  she  has  done.  Pleading  for  forgiveness,  she 
expires;  and  as  Mephistopheles  exults  at  the  catastrophe  he 
has  wrought,  angels  appear  amid  the  music  of  the  celestial 
choirs  and  bear  the  sufferer  to  heaven. 

The  first  act  is  in  the  nature  of  a  prelude,  and  opens  with 
a  long  soliloquy  ("  Interrogo  invano  ")  by  Faust,  in  which 
he  laments  the  unsatisfactoriness  of  life.  It  is  interwoven 
with  delightful  snatches  of  chorus  heard  behind  the  scenes, 
a  duet  with  Mephistopheles  ("  Ma  il  Ciel  "),  and  the  delicate 
music  accompanying  the  vision  of  Marguerite. 

The  second  act  is  contained  in  a  single  setting,  the  Ker- 
messe,  in  which  the  chorus  plays  an  important  part.  In  the 
first  scene  the  choruses  of  students,  soldiers,  old  men,  girls, 
and  matrons  are  quaintly  contrasted,  and  full  of  animation 
and  characteristic  color.  In  the  second,  Valentin  sings  a 
tender  song  ("  O  santa  Medaglia  ")  to  a  medallion  of  his 
sister  which  he  wears  as  a  charm.  It  is  followed  by  a  grim 
and  weird  drinking-song  ("  Dio  dell'  Or"),  sung  by  Mephis- 
topheles. The  latter  then  strikes  fire  from  the  fountain  into 
his  cup,  and  proposes  the  health  of  Marguerite.  Valentin 
springs  forward  to  resent  the  insult,  only  to  find  his  sword 
broken  in  his  hands.  The  students  and  soldiers  recognize  the 
spirit  of  evil,  and  overcome  him  by  presenting  the  hilts  of 
their  swords  in  the  form  of  a  cross,  the  scene  being  accom- 
panied by  one  of  the  most  effective  choruses  in  the  work 
("  Tu  puvi  la  Spada  ").  The  tempter  gone,  the  scene  resumes 
its  gayety,  and  the  act  closes  with  one  of  the  most  animated 
and  delightful  of  waltz  tempos   ("  Come  la  Brezza  "). 

The  third  act,  the  garden  scene,  is  full  of  fascinating  detail, 
and  breathes  the  very  spirit  of  poetry  and  music  combined  in 


116  THE    STANDARD    OPERAS 

a  picture  of  love  which  has  hardly  been  excelled  in  tenderness 
and  beauty  on  the  operatic  stage.  Its  principal  numbers  are  a 
short  and  simple  but  very  beautiful  ballad  for  Siebel  ("  La 
Parlate  d'  Amor");  a  passionate  aria  for  tenor  ("Salve 
dimora  Casta  e  pura  "),  in  which  Faust  greets  Marguerite's 
dwelling;  a  double  number,  which  is  superb  in  its  contrasts, 
—  the  folk-song  ("  C  era  un  Re  di  Thule  "),  a  plaintive  little 
ballad  sung  at  the  spinning-wheel  by  Marguerite,  and  the 
bravura  jewel-song  ("Ah!  e'  strano  poter  "),  which  is  the 
very  essence  of  delicacy  and  almost  childish  glee;  the  quartet 
commencing,  "  V  appogiato  al  Bracchio  mio,"  which  is  of  strik- 
ing interest  by  the  independent  manner  in  which  the  two  pairs 
of  voices  are  treated  and  combined  in  the  close;  and  the 
closing  duet  ("  Sempre  amar  ")  between  Faust  and  Marguerite, 
which  is  replete  with  tenderness  and  passion,  and  closes  in 
strains  of  almost  ecstatic  rapture,  the  fatal  end  of  which  is 
foreshadowed  by  the  mocking  laugh  of  Mephistoplieles  break- 
ing in  upon  its  lingering  cadences. 

The  fourth  act  is  known  as  the  Cathedral  act,  and  established 
Gounod's  reputation  as  a  writer  of  serious  music.  It  opens 
with  a  scena  for  ]\Iarguerite,  who  has  been  taunted  by  the 
girls  at  the  fountain  ("  Nascose  eran  la  le  Crudeli "),  in 
which  she  laments  her  sad  fate.  The  scene  abruptly  changes 
to  the  square  in  front  of  the  cathedral,  where  the  soldiers, 
Valentin  among  them,  are  returning,  to  the  jubilant  though 
somewhat  commonplace  strains  of  the  march,  "  Deponiam  il 
Branda."  As  the  soldiers  retire  and  Valentin  goes  in  quest 
of  Marguerite,  Faust  and  Mephistopheles  appear  before  the 
house,  and  the  latter  sings  a  grotesque  and  literally  infernal 
serenade  ("  Tu,  che  fai  1'  addormentata  ").  Valentin  appears 
and  a  quarrel  ensues,  leading  up  to  a  spirited  trio.  Valentin 
is  slain,  and  with  his  dying  breath  pronounces  a  malediction 
("  Margherita!  Maledetta ")  upon  his  sister.  The  scene 
changes  to  the  church,  and  in  wonderful  combination  we  hear 
the  appeals  of  Marguerite  for  mercy,  the  taunting  voice  of 
the  tempter,  and  the  monkish  chanting  of  the  "  Dies  Irae," 
mingled  with  the  solemn  strains  of  the  organ. 

The  last  act  is   usually  presented  in  a  single  scene,  the 


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GOUNOD  117 

prison,  but  it  contains  five  changes.  After  a  weird  prelude, 
the  Walpurgis  revel  begins,  in  vt^hich  short,  strange  phrases 
are  heard  from  unseen  singers.  The  night  scene  changes  to 
a  hall  of  pagan  enchantment,  and  again  to  the  Brocken,  where 
the  apparition  of  Marguerite  is  seen.  The  orgy  is  resumed, 
when  suddenly  by  another  transformation  we  are  taken  to  the 
prison  where  Marguerite  is  awaiting  death.  It  is  unnecessary 
to  give  its  details.  The  scene  takes  the  form  of  a  terzetto, 
which  is  worked,  up  with  constantly  increasing  power  to  a 
climax  of  passionate  energy,  and  at  last  dies  away  as  Mar- 
guerite expires.  It  stands  almost  alone  among  effects  of  this 
kind  in  opera.  The  curtain  falls  upon  a  celestial  chorus  of 
apotheosis,  the  vision  of  the  angels,  and  Mephistopheles  cower- 
ing in  terror  before  the  heavenly  messengers. 

Romeo  and  Juliet 

"  Romeo  and  Juliet,"  grand  opera  in  five  acts,  words  by 
Barbier  and  Carre,  the  subject  taken  from  Shakespeare's 
tragedy  of  the  same  name,  was  first  produced  at  the  Theatre 
Lyrique,  Paris,  April  27,  1867,  with  Mme.  Miolan-Carvalho 
in  the  role  of  Juliet.  The  story  as  told  by  the  French  dram- 
atists in  the  main  follows  Shakespeare's  tragedy  very  closely 
in  its  construction  as  well  as  in  its  dialogue.  It  is  only 
necessary,  therefore,  to  sketch  its  outlines.  The  first  act  opens 
with  the  festival  at  the  house  of  Capulet.  Juliet  and  Romeo 
meet  there  and  fall  in  love,  notwithstanding  her  betrothal  to 
Paris.  The  hot-blooded  Tybalt  seeks  to  provoke  a  quarrel 
with  Romeo,  but  is  restrained  by  Capulet  himself,  and  the 
act  comes  to  a  close  with  a  resumption  of  the  merry  festivities. 
In  the  second  act  we  have  the  balcony  scene,  quite  literally 
taken  from  Shakespeare,  with  an  episode,  however,  in  the 
form  of  a  temporary  interruption  by  Gregory  and  retainers, 
whose  appearance  is  rather  absurd  than  otherwise.  The  third 
act  is  constructed  in  two  scenes.  The  first  is  in  the  Friar's 
cell,  where  the  secret  marriage  of  the  lovers  takes  place.  In 
the  second,  we  are  introduced  to  a  new  character,  invented 
by   the   librettist,  —  Stephano,    Romeo's    page,   whose   pranks 


118  THE    STANDARD    OPERAS 

while  in  search  of  his  master  provoke  a  general  quarrel,  in 
which  Mercutio  is  slain  by  Tybalt,  who  in  turn  is  killed  by 
Romeo.  When  Capulet  arrives  upon  the  scene  he  condemns 
Romeo  to  banishment,  who  vows,  however,  that  he  will  see 
Juliet  again  at  all  hazards.  The  fourth  act  is  also  made  up 
of  two  scenes.  The  first  is  in  Juliet's  chamber,  and  is  devoted 
to  a  duet  between  the  two  lovers.  Romeo  departs  at  dawn, 
and  Capulet  appears  with  Friar  Laurence  and  announces  his 
determination  that  the  marriage  with  Paris  shall  be  cele- 
brated at  once.  Juliet  implores  the  Friar's  help,  and  he  gives 
her  the  potion.  The  next  scene  is  devoted  to  the  wedding 
festivity,  in  the  midst  of  which  Juliet  falls  insensible  from 
the  effects  of  the  sleeping-draught.  The  last  act  transpires 
in  the  tomb  of  the  Capulets,  where  Romeo  arrives,  and  be- 
lieving his  mistress  dead  takes  poison.  Juliet,  reviving  from 
the  effects  of  the  potion,  and  finding  him  dying,  stabs  herself 
with  a  dagger,  and  expires  in  his  arms. 

While  many  numbers  are  greatly  admired,  the  opera  as  a 
whole  has  not  been  very  successful.  Had  not  "  Faust,"  which 
it  often  recalls,  preceded  it,  its  fate  might  have  been  different. 
Still,  it  contains  many  strong  passages  and  much  beautiful 
writing.  The  favorite  numbers  are  the  waltz  arietta,  very 
much  in  the  manner  of  the  well-known  "  II  Bacio,"  at  the 
Capulet  festival,  the  Queen  Mab  song,  by  Mercutio  ("  Mab, 
Regina  di  Menzogne  "),  and  the  duet  between  Romeo  and 
Juliet  ("  Di  Grazia,  t'  arrestaanc  or!  "),  in  the  first  act;  the 
love  music  in  the  balcony  scene  of  the  second  act,  which  in- 
evitably recalls  the  garden  music  in  "  Faust  ";  an  impressive 
solo  for  Friar  Laurence  ("Al  vostro  Amor  cocente  "),  fol- 
lowed by  a  vigorous  trio  and  quartet,  the  music  of  which  is 
massive  and  ecclesiastical  in  character,  and  the  page's  song 
("Ah!  col  nibbio  Micidale  "),  in  the  third  act;  the  duet  of 
parting  between  Romeo  and  Juliet  ("  Tu  dei  partir  ohime !  "), 
the  quartet  ("  Non  temero  mio  ben ")  between  Juliet,  the 
nurse.  Friar  Laurence,  and  Capulet,  and  the  dramatic  solo 
for  the  Friar  ("  Bevi  allor  questo  Filtro  "),  as  he  gives  the 
potion  to  Juliet,  in  the  fourth  act ;  and  the  elaborate  orchestral 
prelude  to  the  tomb  scene  in  the  last  act. 


Geraldine  Farrar  as  "Juliet 


HAL:feVY   (JACQUES    FRANCOIS) 

The  Jewess 

"  T  A  Juive,"  grand  opera  in  five  acts,  words  by  Scribe, 
1  ^  the  libretto  originally  written  for  Rossini  and  rejected 
in  favor  of  "  William  Tell,"  was  produced  for  the  first  time 
at  the  Academic,  Paris,  February  23,  1835,  with  the  following 
cast  of  the  principal  parts : 

Rachel Mile.  Cornelia  Falcon. 

Eudoxia Mme.  Dorus-Gras. 

Eleazar M.  Nourrit. 

Cardinal .  M.  Levasseur. 

It  was  first  produced  in  England  in  French,  July  29,  1846, 
and  in  Italian  under  the  title  of  "  La  Ebrea,"  July  25,  1850. 
In  this  country  it  is  most  familiar  in  the  German  version. 
The  scene  of  the  opera  is  laid  in  Constance;  time,  1414. 
Leopold,  a  prince  of  the  empire,  returning  from  the  wars,  is 
enamoured  of  Rachel,  a  beautiful  Jewess,  daughter  of  Eleazar, 
the  goldsmith.  The  better  to  carry  out  his  plans,  he  calls 
himself  Samuel,  and  pretends  to  be  a  Jewish  painter.  Cir- 
cumstances, however,  dispel  the  illusion,  and  Rachel  learns 
that  he  is  no  other  than  Leopold,  husband  of  the  Princess 
Eudoxia.  Overcome  with  indignation  at  the  discovery  of  his 
perfidy,  she  publicly  denounces  his  crime,  and  the  Cardinal 
excommunicates  Leopold,  and  pronounces  his  malediction  on 
Rachel  and  her  father.  Rachel,  Eleazar,  and  Leopold  are 
thrown  into  prison  to  await  the  execution  of  the  sentence  of 
death.  During  their  imprisonment  Eudoxia  intercedes  with 
Rachel  to  save  Leopold's  life,  and  at  last,  moved  by  the  grief 
of   the    rightful   wife,    she    publicly    recants    her    statement. 


120  THE    STANDARD    OPERAS 

Leopold  is  banished,  but  Rachel  and  her  father  are  again 
condemned  to  death  for  conspiring  against  the  life  of  a  Chris- 
tian. Eleazar  determines  to  be  revenged  in  the  moment  of 
death  upon  the  Cardinal,  who  has  sentenced  them,  and  who 
is  at  the  head  of  a  church  which  he  hates;  and  just  before 
they  are  thrown  into  a  caldron  of  boiling  oil,  reveals  to  the 
spectators  that  Rachel  is  not  his  own,  but  an  adopted  daughter, 
saved  from  the  ruins  of  the  Cardinal's  burning  palace,  and 
that  she  is  his  child. 

The  opera  of  "  The  Jewess  "  is  preeminently  spectacular, 
and  its  music  is  dramatic  and  declamatory  rather  than  melo- 
dious. The  prominent  numbers  of  the  first  act  are  the  solemn 
declaration  of  the  Cardinal  ("  Wenn  ew'ger  Hass  "),  in  which 
he  replies  to  Eleazar's  hatred  of  the  Christian;  the  romance 
sung  by  Leopold  ("  Fern  vom  Liebchen  weilen  "),  which  is 
in  the  nature  of  a  serenade  to  Rachel;  "  Eilt  herbei,"  the 
drinking-song  of  the  people  at  the  fountain,  Avhich  is  flowing 
wine;  and  the  chorus  and  march  ("  Leht,  es  nahet  sich  der 
Zug  "),  which  preludes  the  imposing  pageantry  music  of  the 
Emperor's  arrival,  closing  with  the  triumphant  Te  Deum  to 
organ  accompaniment  and  the  greeting  to  the  Emperor  ("  Ho- 
sanna,  unser  Kaiser  hoch  "). 

The  second  act  opens  with  the  celebration  of  the  Passover 
in  Eleazar's  house,  and  introduces  an  impressive  prayer 
("  Allmacht'ger  blicke  gnadig").  In  the  next  scene  there  is 
a  passionate  ensemble  and  duet  for  Eudoxia  and  Leopold 
("  Ich  will  ihn  seh'n "),  which  is  followed  by  a  second 
spirited  duet  between  Rachel  and  Leopold  ("  Als  mein 
Herz ") ;  an  intensely  dramatic  aria  ("Ach!  Vater!  Halt 
ein !  "),  in  which  she  claims  her  share  of  Leopold's  guilt;  and 
the  final  grand  trio  in  which  anathema  is  pronounced  by 
Eleazar. 

The  third  act  is  principally  devoted  to  the  festivities  of  the 
royal  pageants,  and  closes  with  the  anathema  of  the  Cardinal 
("  Ihr,  die  ihr  Gottes  Zorn  "),  which  is  a  concerted  number 
of  magnificent  power  and  spirited  dramatic  effect.  The  fourth 
act  contains  a  grand  duet  between  Eleazar  and  the  Cardinal 
("  Hort  ich  recht?"),  and  closes  with  a  powerful  scena  for 


Falcon  as  Rachel 


HALEVY  121 

tenor  ("  Das  Todesurtheil  sprich  "),  in  which  Eleazar  wel- 
comes death  and  hurls  defiance  at  the  Christians.  The  last 
act  is  occupied  with  the  tragic  denouement,  accompanied  by 
very  dramatic  music  to  the  close,  often  rising  to  real  sub- 
limity. In  stage  pageantry,  in  the  expression  of  high  and 
passionate  sentiment,  in  elaborateness  of  treatment,  and  in 
broad  and  powerful  dramatic  effect,  "  The  Jewess  "  is  one 
of  the  strongest  operas  in  the  modern  repertory. 


HERBERT    (VICTOR) 

Natoma 

VICTOR  HERBERT,  who  abandoned  long  since  the  posi- 
tions of  'cellist  and  conductor  to  devote  himself  to  com- 
position, has  become  well  known  in  a  field  of  light  opera. 
Those  of  his  long  list  of  works  of  this  class,  by  which  he  has 
become  best  known  to  the  public,  are  "  Prince  Ananias," 
"The  Serenade,"  "The  Wizard  of  the  Nile,"  "The  Idol's 
Eye,"  "  The  Fortune  Teller,"  "  The  Singing  Girl,"  "  Cyrano 
de  Bergerac,"  "  Babes  in  Toyland,"  "  It  happened  in  Nord- 
land,"  "  Babette,"  "  Mile.  Modiste,"  "  The  Red  Mill,"  "  Al- 
geria," "  Naughty  Marietta,"  "  The  Duchess,"  and  "  The 
Enchantress."  At  last  he  has  achieved  a  grand  opera, 
"  Natoma,"  American  in  its  story ;  Indian,  Spanish,  and 
Victor  Herbertish  in  its  music. 

"  Natoma,"  a  libretto  by  Joseph  D.  Redding,  was  first 
produced  in  Philadelphia  in  the  season  of  1910-11  with  the 
following  cast: 

Natoma Mart  Gahden. 

Barbara Lillian  Gbenville. 

Lieut.  Paul  Merrill John  McCormack. 

Don  Francisco Gustave  Huberdeau. 

Father  Peralta Hector  Dufranne. 

Juan  Bautista  Alvarado Mario  Summarco. 

Pico Armand  Crabbe. 

Kagama Constantin  Nicolat. 

Jose  Castro Frank  Preisch. 

Chiquita Gabrielle  Klink. 

A  Voice Minnie  Egener. 

Sergeant Desire  Defrere. 

Natoma,  the  heroine  of  the  story,  is  an  Indian  girl  who 
serves  and  adores  Barbara,  the  daughter  of  a  Spanish  don. 


HERBERT  123 

Another  adorer  is  Paul  Merrill,  an  American  naval  officer, 
who  becomes  a  successful  suitor,  and  thereby  incurs  the  jeal- 
ousy of  Alvarado,  a  young  Spaniard,  third  adorer.  In  collu- 
sion with  Castro,  a  half-breed,  who  has  been  repulsed  by 
Natoma,  he  plots  the  abduction  of  Barbara. 

In  the  second  act  the  curtain  rises  upon  a  festival  in  the 
plaza  in  celebration  of  Barbara's  coming  of  age.  While 
Castro  and  Natoma  are  engaged  in  a  "  Dagger  Dance,"  Alva- 
rado stealthily  approaches  Barbara  and  envelops  her  in  his 
scrape,  but  before  he  can  carry  out  his  design,  Natoma 
rushes  at  him  and  stabs  him.  To  avenge  his  death,  the  by- 
standers, led  by  Castro,  attempt  to  kill  her,  but  Paul  draws 
his  sword  and  keeps  the  assailants  at  bay.  Father  Peralta 
now  appears  in  the  doorway  of  the  adjacent  mission  church, 
and  with  crucifix  held  aloft  quiets  the  crowd  and  brings  them 
to  their  knees  in  prayer. 

The  last  act  reveals  Natoma  in  the  church,  where  she  has 
taken  refuge.  She  at  first  determines  to  rejoin  her  people 
and  have  vengeance,  but  the  priest  quiets  her  and  at  last 
induces  her  to  enter  the  convent,  being  assured  by  the  priest 
that  thereby  she  will  in  the  future  be  united  to  her  adored 
mistress.  The  final  scene  is '  devoted  to  the  ceremony  of 
membership  and  the  benediction  of  the  priest.  Paul,  of 
course,  whom  Natoma  also  has  loved,  is  united  to  Barbara, 
and  Natoma  disappears  into  the  convent  garden,  and  pre- 
sumably is  happy  ever  after. 

The  principal  numbers  are  Don  Francisco's  bass  aria, 
Natoma's  legend  of  the  Abalone  shell,  Alvarado's  serenade, 
the  love  duets  of  Paul  and  Barbara,  and  the  drinking-song, 
in  the  first  act;  the  ensemble  of  the  festa,  Natoma's  dramatic 
entrance  aria,  the  pannelo  or  handkerchief  dance,  the  bar- 
baric dagger  dance,  and  Barbara's  aria,  "  I  list  the  Mill,"  in 
the  second;  the  intermezzo  between  the  second  and  third 
acts,  in  which  Indian  themes  are  skilfully  developed,  and 
which  is  the  strongest  number  in  the  opera;  and  the  Hawk 
Song  and  chorales  for  the  monks  in  the  last  act. 

Notwithstanding  the  composer  was  handicapped  by  a 
libretto  that  is  cumbersome,  long  drawn  out,  and  in  several 


1M  THE    STANDARD    OPERAS 

scenes  poorly  adapted  to  music,  he  has  produced  an  opera 
of  great  merit  and  of  a  much  higher  standard  than  any  of 
its  numerous  predecessors.  The  choruses  are  very  effective, 
the  orchestration  brilliant  and  skilful  and  specially  happy 
in  the  development  of  Indian  and  Spanish  motives,  for  he 
has  employed  motives  after  the  Wagnerian  manner  to  em- 
body his  ideas,  and  the  lyrics  are  tuneful,  some  of  them 
recalling  the  popular  numbers  in  his  earlier  works.  "  Na- 
toma "  thus  far  is  his  masterpiece.  But  he  is  an  inde- 
fatigable writer,  and  it  may  be  that  with  a  better  libretto 
and  aided  by  the  experience  of  "  Natoma  "  he  will  produce 
in  the  future  some  work  even  more  worthy  to  be  designated 
as  "  grand  opera." 


HEROLD    (LOUIS   JOSEPH 
FERDINAND) 

Zampa 

ZAMPA/'  opera  comique  in  three  acts,  text  by  Meles- 
ville,  was  first  performed  in  Paris,  May  3,  1831. 
The  libretto  is  based  upon  the  old  story  of  "  The  Statue 
Bride,"  The  curtain  rises  upon  a  group  of  Sicilian  girls 
who  are  selecting  gifts  at  the  bidding  of  Alfonso,  Camilla's 
lover,  who  assures  them  that  Signor  Lugano,  Camilla's 
father,  has  authorized  him  to  take  this  method  of  dispos- 
ing of  some  of  his  wealth.  Rita,  Camilla's  maid,  makes  the 
announcement  that  Lugano  left  that  morning  to  meet  one 
of  his  vessels  coming  from  Smyrna.  Camilla  is  alarmed 
for  his  safety,  but  Alfonso  allays  her  anxiety  by  telling  her 
that  Zampa,  the  corsair,  has  been  captured  and  condemned 
to  death.  Rita  bitterly  inveighs  against  Zampa  as  the 
cause  of  her  early  widowhood.  Saying  that  she  must  forget 
her  troubles  and  look  after  the  wedding  breakfast,  she  leaves 
Camilla  and  Alfonso  alone  together,  bidding  the  latter  offer 
prayers  to  their  patron  saint,  and  pointing  to  a  statue  upon 
which  is  inscribed  "  Albina  de  Manfredi,  1814."  Struck 
by  the  name,  Alfonso  begs  Camilla  to  tell  its  story,  which 
deeply  impresses  Alfonso  as  it  recalls  his  own  brother,  who 
abandoned  a  maid  named  Albina.  Camilla  is  shortly  startled 
by  the  arrival  of  Dandolo,  the  messenger  who  had  been 
commissioned  to  bring  the  priest  for  the  wedding.  He 
announces  that  they  had  been  stopped  by  ruffians  who  de- 
clared his  errand  useless,  as  Camilla's  wedding  would  never 
take  place.  During  the  narration  Zampa  himself  appears 
and  tells  her  that  her   father  is  in  his  power,  and  that  his 


126  THE    STANDARD    OPERAS 

safety  depends  upon  her  submission  to  his  purpose,  which 
is  to  marry  her  and  secure  the  father's  wealth.  At  a  sub- 
sequent carousal,  Zampa  approaches  the  statue  of  Albina, 
and  recognizing  the  features  as  those  of  the  maid  he  be- 
trayed, he  places  a  ring  upon  its  finger,  whereupon  the  arm 
of  the  statue  is   raised  menacingly. 

The  second  act  opens  at  Signor  Lugano's  chateau.  Zampa 
is  warned  that  he  is  tracked,  but  he  declares  the  wedding 
shall  be  solemnized  before  he  leaves.  His  identity  Avith  the 
corsair,  however,  is  announced,  but  he  escapes  by  producing 
a  letter  offering  pardon  to  himself  and  his  crew  if  he  will 
accept  service  against  the  Turks,  to  which  he  has  assented. 
To  save  her  father's  life  Camilla  promises  to  wed  him  in 
spite  of  the  warning  gesture  of  the  statue. 

The  third  act  discloses  Camilla  lamenting  over  her  promise 
to  Zampa,  but  rejoicing  because  he  has  signed  the  release 
of  her  father.  Alfonso  enters  and  she  gives  him  the  docu- 
ment. Zampa  declares  she  is  not  to  be  the  bride  of  a  com- 
mon corsair,  but  of  the  Count  de  Monza,  Alfonso's  brother. 
Camilla  implores  him  to  leave  her,  as  she  has  decided  to 
seek  refuge  in  a  convent.  Her  prayer  is  rejected,  and 
Camilla  is  only  saved  by  her  father  and  Alfonso,  who,  with 
drawn  swords,  force  Zampa  to  the  oratory.  Disarmed  and 
about  to  be  struck  down,  the  statue  seizes  him  and  carries 
him  to  his  destruction. 

The  overture,  one  of  the  most  attractive  of  concert  num- 
bers, even  at  this  day,  is  very  effective  with  its  bacchanalian 
opening,  the  sweet  and  sacred  character  of  the  middle  por- 
tion, and  its  lively  finish.  The  most  striking  numbers  of 
the  first  act  are  the  attractive  opening  chorus  of  the  girls 
("  Dans  ces  Presents  ")  ;  the  charming  aria  ("  A  ce  Bon- 
heur  ")  sung  by  Camilla;  the  dignified  and  beautifully  har- 
monized quartet  ("  Le  voila  ")  ;  and  the  finale  with  its 
strongly  contrasted  couplets  and  choral  effects.  The  princi- 
pal numbers  of  the  second  act  are  the  canticle  with  harp 
accompaniment  ("  Aux  Pieds  de  la  Madone ") ;  the  dra- 
matic duet,  "  Juste  Ciel,"  and  the  finale  with  its  brilliant 
choruses    and   melodious   rondo,   "  Douci   Jouvencelli."      The 


HEROLD  127 

third  act  is  even  more  important  from  the  musical  point  of 
view,  its  great  numbers  being  the  lovely  gondola  nocturne 
("  Oil  vas-tUj  pauvre  Gondolier?  ")  ;  the  serenade  ("  La  Nuit 
profonde ") ;  and  the  cavatina  ("  Pourquoi  trembler?"), 
which  is  one  of  the  inspirations  of  the  opera. 


<I 


HUMPERDINCK  (ENGLEBERT) 

Hansel  and  Gretel 

HANSEL  and  Gretel/'  fairy  opera  in  three  acts,  words 
by  Adelheid  Wette,  was  first  produced  in  Germany 
in  1894.  In  January,  1895,  it  was  performed  in  London 
by  the  Royal  Carl  Rosa  Opera  Company,  rendered  into 
English  by  Constance  Bache;  and  in  the  fall  of  the  same 
year  it  had  its  first  representation  in  New  York,  at  Daly's 
Theatre,  with  the   following  cast: 

Peter,  a  broom-maker Mr.  Jacques  Baks. 

Gertrude,  his  wife Miss  Alice  Gordon. 

The  Witch Miss  Louise  Meisslingeb. 

Hansel Miss  Marie  Elba. 

Gretel Miss  Jeanne  Douste. 

Sandman,  the  Sleep  Fairy Miss  Cecile  Brani. 

Dewman,  the  Dawn  Fairy Miss  Edith  Johnston. 

The  story  is  taken  from  one  of  Grimm's  well-known  fairy 
tales,  and  the  text  was  written  by  the  composer's  sister, 
Adelheid  Wette.  It  was  Frau  Wette's  intention  to  arrange 
the  story  in  dramatic  form  for  the  amusement  of  her  chil- 
dren, her  brother  lending  his  cooperation  by  writing  a  few 
little  melodies,  of  a  simple  nature,  to  accompany  the  per- 
formance. When  he  had  read  it,  however,  the  story  took 
his  fancy,  and  its  dramatic  possibilities  so  appealed  to  him 
that  he  determined  to  give  it  an  operatic  setting  with  full 
orchestral  score.  He  thus  placed  it  in  the  higher  sphere 
of  world  performance  by  an  art  which  not  alone  reveals  the 
highest  type  of  genial  German  sentimentality,  but,  curiously 
enough,  he  applied  to  this  simple  little  story  of  angels, 
witches,  and  the  two  babes   in   the  wood  the   Same  musical 


Marie  Cavan  as  Hansel 

Copyright^  Matzene 


HUMPERDINCK  120 

methods  which  Wagner  has  employed  in  telling  the  stories 
of  gods  and  demigods.  Perhaps  its  highest  praise  was 
sounded  by  Siegfried  Wagner,  son  of  Richard  Wagner,  who 
declared  that  "  Hansel  and  Gretel  "  was  the  most  important 
German  opera  since  "  Parsifal/'  notwithstanding  its  childish- 
ness and  simplicity. 

After  a  beautifully  instrumented  prelude,  which  has  al- 
ready become  a  favorite  concert  jjiece,  the  curtain  rises  upon 
the  home  of  Peter,  the  broom-maker.  The  parents  are  away 
seeking  for  food,  and  Hansel  and  Gretel  have  been  left  in 
the  cottage  with  instructions  to  knit  and  make  brooms.  There 
is  a  charming  dialogue  between  the  two  children,  beginning 
with  a  doleful  lament  over  their  poverty,  and  ending  with 
an  outburst  of  childish  hilarity  in  song  and  dancing,  —  a 
veritable  romp  in  music,  —  which  is  suddenly  interrupted 
by  the  return  of  Gertrude,  the  mother,  empty-handed,  who 
chides  them  for  their  behavior,  and  in  her  anger  upsets  a 
jug  of  milk  which  was  the  only  hope  of  supper  in  the  house. 
With  an  energetic  outburst  of  recitative  she  sends  them  into 
the  forest,  telling  them  not  to  return  until  they  have  filled 
their  basket  with  strawberries.  After  lamenting  her  loss, 
and  mourning  over  her  many  troubles,  she  falls  asleep,  but 
is  awakened  by  the  return  of  Peter,  who  has  been  more 
fortunate,  and  has  brought  home  some  provisions.  A  rollick- 
ing scene  ensues,  but  suddenly  he  misses  the  children,  and 
breaks  out  in  a  fit  of  rage  when  he  is  informed  that  they 
have  gone  into  the  forest.  To  the  accompaniment  of  most 
gruesome  and  characteristic  music  he  tells  his  wife  of  the 
witch  who  haunts  the  wood,  and  who,  living  in  a  honey-calce 
house,  entices  little  children  to  it,  bakes  them  into  ginger- 
bread in  her  oven,  and  then  devours  them. 

The  second  act,  "  In  the  Forest,"  is  preluded  by  a  char- 
acteristic instrumental  number,  "  The  Witches'  Ride."  The 
children  are  discovered  near  the  Ilsenstein,  among  the  fir- 
trees,  making  garlands,  listening  to  the  cuckoos,  and  mock- 
ing them  in  a  beautiful  duet  with  echo  accompaniment.  At 
last,  however,  they  realize  that  they  are  lost;  and  in  the 
midst   of   their   fear,   which   is   intensified  by   strange   sights 


130  THE    STANDARD    OPERAS 

and  sounds,  the  Sandman,  or  sleep  fairy,  approaches  them, 
strews  sand  in  their  eyes,  and  sings  them  to  sleep  with  a 
most  delicious  lullaby,  after  they  have  recited  their  prayer 
("  When  at  night  I  go  to  sleep,  fourteen  Angels  watch  do 
keep  ").  As  they  sleep  the  mist  rolls  away,  the  forest 
background  disappears,  and  the  fourteen  angels  come  down 
a  sort  of  Jacob's  ladder  and  surround  the  children,  while 
other  angels  perform  a  stately  dance,  grouping  themselves 
in  picturesque  tableau  as  the  curtain   falls. 

The  third  act  is  entitled  "  The  Witch's  House."  The 
children  are  still  sleeping,  but  the  angels  have  vanished. 
The  Dawn  Fairy  steps  forward  and  shakes  dewdrops  from 
a  bluebell  over  them,  accompanying  the  action  with  a  de- 
lightful song,  "  I  'm  up  with  early  Dawning."  Gretel  is 
the  first  to  wake,  and  rouses  Hansel  by  tickling  him  with 
a  leaf,  at  the  same  time  singing  a  veritable  tickling  melody, 
and  then  telling  him  what  she  has  seen  in  her  dream.  In 
place  of  the  fir-trees  they  discover  the  witch's  house  at  the 
Ilsenstein,  with  an  oven  on  one  side  and  on  the  other  a 
cage,  both  joined  to  the  house  by  a  curious  fence  of  ginger- 
bread figures.  The  house  itself  is  constructed  of  sweets 
and  creams.  Attracted  by  its  delicious  fragrance  and  tooth- 
someness,  the  hungry  children  break  off  a  piece  and  are 
nibbling  at  it,  when  the  old  witch  within  surprises  and 
captures  them.  After  a  series  of  incantations,  and  much 
riding  upon  her  broomstick,  which  are  vividly  portrayed  in 
the  music,  she  prepares  to  cook  Gretel  in  the  oven;  but 
while  looking  into  it  the  children  deftly  tumble  her  into  the 
fire.  The  witch  waltz,  danced  by  the  children  and  full  of 
joyous  abandon,  follows.  To  a  most  vivid  accompaniment. 
Hansel  rushes  into  the  house  and  throws  fruit,  nuts,  and 
sweetmeats  into  Gretel's  apron.  Meanwhile  the  oven  falls 
into  bits,  and  a  crowd  of  children  swarm  around  them,  re- 
leased from  their  gingerbread  disguises,  and  sing  a  swelling 
chorus  of  gratitude  as  two  of  the  boys  drag  the  witch  from 
the  ruins  of  the  oven  in  the  form  of  a  big  gingerbread-cake. 
The  father  and  mother  appear.  Their  long  quest  is  ended. 
The  family  join  in  singing  a  pious  little  hymn  ("When  past 


Bella  Alten  as  Gretel 


HUMPERDINCK  131 

bearing  is  our  grief,  God  the  Lord  will  send  relief  "),  and 
the  children  dance  joyously  around  the  reunited  group.  The 
story  is  only  a  little  child's  tale,  but  it  is  wedded  to  music 
of  the  highest  order.  The  union  has  been  made  so  deftly, 
the  motives  are  so  charming  and  take  their  places  so  skil- 
fully, and  the  music  is  so  scholarly  and  characteristic 
throughout,  that  no  one  has  yet  considered  this  union  as 
incongruous. 

Die  Konigskinder 

"  Die  Konigskinder,"  a  fairy  opera  in  three  acts,  founded 
upon  a  play  of  the  same  name  by  Elsa  Bernstein,  the  author 
of  many  dramatic  works,  was  first  produced  upon  any  stage 
in  New  York,  December  28,  1910,  with  the  following  cast: 

The  King's  Son Hermann  Jadlowkeb. 

The  Goose  Girl Geraldine  Farrak. 

The  Fiddler Otto  Goritz 

The  Witch Louise  Homer. 

The  Woodcutter Adamo  Didur. 

The  Broom-maker Albert  Reiss. 

rr,      y^L•7J  [Edna  Walter. 

1  wo  V  hilar  en W  t:> 

[Lotte  Lngel. 

The  Senior  Councillor Marcel  Reiner. 

The  Innkeeper Antonio  Pini-Corsi. 

The  Innkeepers  Daughter Florence  Wickham. 

The  Tailor Julius  Bayer. 

The  Stablemaid Marie  Mattfeld. 

First  Gatekeeper Ernst  Maran. 

Second  Gatekeeper William  Hinshaw. 

Conductor Alfred  Hertz. 

For  the  original  drama  Humperdinck  wrote  preludes  to 
the  second  and  third  acts,  and  incidental  music.  The  first 
production  took  place  at  Munich,  January  23,  1897,  and 
in  the  next  year  it  was  played  in  New  York.  The  preludes 
were  heard  before  the  play  was  first  performed,  Nikisch 
having  conducted  them  at  a  Berlin  Philharmonic  concert  in 
1896.  The  Theodore  Thomas  orchestra  also  gave  them  their 
first  hearing  in  this  country  in  the  same  year.  The  play 
itself  was   not   remarkably   successful,   but   Humperdinck   so 


132  THE    STANDARD    OPERAS 

highly  esteemed  it  that  he  expanded  it  with  a  grand  opera 
in  the  strict  sense,  for  the  composer  presents  a  musical 
fairy  story  in  the  Wagnerian  manner  and  with  the  re- 
sources of  a  Wagnerian  orchestra,  yet  retaining  all  the 
delicacy  and  charm  which  should  characterize  a  work 
concerned  with  children.  The  first  act  discloses  the  Hella 
forest  in  Spring,  the  second  a  public  place  at  Hellabrunn, 
and  the  setting  for  the  third  is  the  same  as  the  second  ex- 
cept that  the  season  is  Winter. 

The  first  act  discovers  the  Goose  Girl  in  the  power  of  the 
Witch,  who  has  cast  spells  over  the  bushes  so  that  she  can- 
not get  away.  Her  lover,  the  King's  son,  finds  her,  but  as 
she  is  still  under  the  spell  she  cannot  leave  with  him.  The 
people  of  Hellabrunn  meanwhile  have  sent  out  a  fiddler,  a 
woodchopper,  and  a  broom-maker,  commissioned  to  ask  the 
witch  where  they  may  find  a  ruler.  The  witch  deceives  all 
of  them  but  the  fiddler,  who  learns  of  the  Goose  Girl's  royal 
parentage,  rescues  her  from  the  witch  spell,  and  takes  her 
with  him  back  to  Hellabrunn. 

The  second  act  opens  upon  a  scene  of  excitement.  The 
King's  son  is  in  the  town,  a  ragged  beggar,  recognized  by  no 
one  but  the  broom-maker's  daughter.  As  the  clock  strikes 
twelve  and  the  people  are  expecting  the  entrance  of  their 
ruler,  no  one  appears  but  the  Goose  Girl  with  her  flock  of 
geese,  followed  by  the  fiddler.  The  King's  son  joyfully 
recognizes  her,  but  the  people  are  furious,  deride  the  lovers, 
and  drive  them  out  of  the  city. 

The  last  act  is  tragic.  It  is  winter  time.  The  lovers 
have  lost  their  way  in  the  forest.  The  Goose  Girl  is  wasted 
by  illness  and  both  are  exhausted  by  cold  and  hunger.  At 
last  they  reach  the  hut  of  the  witch  and  find  it  occupied  by 
the  woodchopper  and  the  broom-maker.  They  beg  for  food 
and  shelter  but  are  refused.  The  Goose  Girl  seeks  to  con- 
sole the  Prince  by  denying  that  she  is  ill,  and  dances  in  the 
snow  until  she  faints  to  prove  her  assertion.  The  Prince 
gives  his  crown  to  the  woodchopper  in  exchange  for  a  loaf 
of  bread  which  had  been  poisoned  by  the  witch.  The  poison 
takes   effect.     The   Goose   Girl   fancies   the   falling  flakes   are 


HUMPERDINCK  133 

linden  blossoms  and  the  Prince  believes  he  has  found  his 
way  to  his  father's  kingdom.  When  the  fiddler  arrives  with 
the  children  of  the  town  they  find  the  two  dead  in  each 
others'  arms.  Their  bodies  are  placed  upon  a  bier  and  car- 
ried away  as  the  curtain  falls  upon  the  lament  of  the  children. 
An  analysis  of  tlie  delightful  music  with  which  the  com- 
poser has  illustrated  this  story  would  be  simply  a  statement 
of  themes  and  phrases,  for  the  score  is  Wagnerian  through- 
out. It  is  a  child's  tale  told  in  continuous  melody,  the  music 
flowing  gracefully  on  and  invested  now  with  charming  har- 
monic quality  and  orchestral  color,  and  anon  with  great 
impressiveness  and  a  grand  style  as  the  tragic  denouement 
approaches.  The  music  has  no  separate  numbers  but  is 
linked  together  symmetrically  by  the  use  of  themes,  and  the 
result  is  a  masterpiece  of  pure  idealism.  The  most  striking 
features  of  the  opera  are  the  bright  music  of  the  second 
act  with  the  sparkling  prelude  and  the  passages  in  the  open- 
ing of  the  last  act,  in  which  the  children  alone  have  a 
share. 


LECOCQ    (CHARLES) 

Girofle-Girofla 

"/^IROFLE-GIROFLA,"  opera  bouffe  in  three  acts,  text 
Vjf  by  Vanloo  and  Aterrier,  was  first  produced  at  the 
Theatre  des  Fantasies  Parisiennes,  Brussels,  March  21,  1874; 
in  Paris,  November  11,  1874;  in  New  York  at  the  Park 
Theatre  in  1875.  The  scene  is  laid  in  Spain.  The  opening 
scene  introduces  Don  Bolero  d'Alcarazas,  a  Spanish  grandee, 
and  Aurore,  his  wife,  also  their  tv/in  daughters,  Girofle  and 
Girofla,  who,  being  of  marriageable  age,  have  been  hastily 
betrothed,  Girofle  to  Marasquin,  a  banker,  to  whom  Don 
Bolero  is  heavily  indebted,  and  Girofla  to  Mourzook,  a  Moor- 
ish chief,  who  has  made  regular  demands  upon  Don  Bolero 
for  money  on  penalty  of  death.  By  the  double  marriage 
he  expects  to  get  rid  of  his  obligations  on  the  one  hand  and 
avoid  the  paj^ment  of  the  enforced  tribute  on  the  other. 
Girofle  is  married  as  arranged,  but  Girofla,  who  was  to  have 
been  married  the  same  day,  is  abducted  bj'  pirates  before  the 
ceremony  can  be  performed.  When  Mourzook  arrives  and 
finds  he  has  no  bride,  he  is  in  a  terrible  rage,  but  is  quieted 
down  when,  after  a  little  manoeuvring  by  Aurore,  Girofle  is 
passed  off  on  him  as  Girofla,  and  is  thus  to  be  married  a 
second  time. 

In  the  second  act  the  wedding  festivities  are  going  on 
and  both  bridegrooms  are  clamoring  for  their  brides.  No 
word  is  heard  from  Admiral  Matamoras,  who  has  been  sent 
to  capture  the  pirates.  Don  Bolero  and  Aurore  resort  to  all 
kinds  of  expedients  to  settle  matters  and  pacify  the  irate 
banker  and  the  furious  Moor,  and  besides  have  much  trouble 
in  restraining  Girofle  from  flying  to  her  Marasquin.     At  last 


LECOCQ  135 

she  is  locked  up.  She  manages  to  get  out,  however,  and  goes 
off  with  some  of  her  cousins  for  a  revel.  Her  absence  is 
explained  by  a  report  that  the  pirates  have  carried  her  off 
also,  which  adds  to  the  parents'  perplexity  as  well  as  to  the 
fury  of  Marasquin  and  Mourzook.  At  last  Girofle  appears 
in  a  tipsy  condition  and  is  claimed  by  both.  The  act  closes 
with  the  report  that  Matamoras  has  been  defeated,  and  that 
the  pirates  have  carried  Girofla  to  Constantinople. 

The  third  act  opens  on  the  following  morning.  The  two 
would-be  husbands  have  been  locked  into  their  apartments. 
Marasquin  has  passed  a  quiet  night,  but  Mourzook  has 
smashed  the  furniture  and  escaped  from  his  chamber  through 
the  window.  The  parents  assure  Marasquin  that  even  if 
Mourzook  returns  he  will  have  to  leave  that  afternoon,  and 
suggest  that  there  can  be  no  harm  in  letting  him  have 
Girofle  for  his  wife  until  that  time.  Marasquin  reluctantly 
consents,  and  when  Mourzook  returns  and  Girofle  is  pre- 
sented to  him  as  Girofla,  a  ridiculous  love  scene  occurs, 
which  Marasquin  contrives  to  interrupt  by  various  devices. 
Finally  the  return  of  Girofla  is  announced,  and  Matamoras 
with  his  sailors  appear,  leading  her  by  the  hand.  Explana- 
tions are  made  all  round,  the  parents  are  forgiven,  and 
Mourzook  is  satisfied. 

The  music  is  lively  throughout  and  oftentimes  brilliant, 
and  of  a  higher  standard  than  usually  characterizes  opera 
bouffe.  The  most  taking  numbers  are  the  ballad  with  pizzi- 
cato accompaniment,  sung  by  Paquita,  "  Lorsque  la  Journee 
est  fini  ("  When  the  Day  is  finished  ")  ;  the  concerted  en- 
semble, "  A  la  Chapelle  "  ("  To  the  Church  ")  ;  the  grotesque 
pirates'  chorus,  "  Parmi  les  Choses  delicates  "  ("  Among  the 
delicate  Things  to  do  "),  and  the  sparkling  duet  for  Girofle 
and  Marasquin,  "  C'est  fini,  le  Mariage "  ("The  Marriage 
has  been  solemnized"),  in  the  first  act;  the  bacchanalian 
chorus,  "  Ecoutez  cette  Musique  "  ("Listen  to  this  Music"), 
leading  up  to  a  dance ;  a  vivacious  and  well-written  quintet, 
"Matamoras,  grand  Capitaine "  ("'Matamoras,  our  great 
Captain  ")  ;  a  fascinating  drinking  song,  "  Le  Punch  scin- 
ti]]e  "  ("  See  how  it  sparkles  "),  and  the  andante  duet,  "  O 


136  THE    STANDARD    OPERAS 

Girofle,  O  Girofla,"  a  smooth;  tender  melody,  which  is  in 
striking  contrast  with  the  drinking-music  preceding  it  and 
that  which  immediately  follows  the  chorus  of  the  half-tipsy 
wedding-guests,  "  C'est  le  Canon"  ("It  is  the  Cannon"), 
in  the  second  act;  and  the  rondo,  "  Beau  Pere,  une  telle  de- 
mand "  ("Oh,  my  Father,  now  you  ask"),  sung  by  Maras- 
quin,  and  the  duet  for  Mourzook  and  Girofle,  "  Ma  belle 
Girofle"  ("My  lovely  Girofle"),  in  the  third  act. 


La  Fille  de  Madame  Angot 

"  La  Fille  de  Madame  Angot,"  opera  boufife  in  three 
acts,  text  by  Clairville,  Sirandin,  and  Konig,  was  first  pro- 
duced at  the  Fantasies  Parisiennes,  Brussels,  November,  1872; 
in  Paris  at  the  Folies  Dramatiques,  February  23,  1873.  The 
first  act  opens  in  a  market  square  in  Paris,  where  the  market 
women  and  others  in  holiday  attire  are  making  ready  to 
celebrate  the  wedding  of  Pomponnet,  the  hairdresser,  and 
Clairette,  the  daughter  of  the  late  Madame  Angot.  During 
the  festive  preparations,  for  which  Clairette  has  little  desire, 
as  her  affections  are  fixed  upon  Ange  Pitou,  a  street  singer, 
who  is  continually  in  trouble  by  reason  of  his  political  songs, 
the  latter  makes  his  appearance.  He  is  informed  of  the  forth- 
coming wedding,  which  has  been  arranged  by  the  market 
people,  who  have  adopted  Clairette  as  the  child  of  the  market. 
At  the  same  time  Larivaudiere  and  Louchard,  the  police  offi- 
cials who  caused  his  arrest  because  of  his  knowledge  of  the 
relations  of  Larivaudiere  and  Mademoiselle  Lange,  the  come- 
dienne and  favorite  of  Barras,  are  surprised  to  find  him  at 
large.  To  prevent  him  from  reciting  his  knowledge  in  a 
song  which  he  is  sure  has  been  written,  Larivaudiere  buys 
him  off.  Pitou  subsequently  regrets  his  bargain.  When  the 
crowd  clamors  for  a  song,  he  says  he  has  none.  The  people 
are  furious  with  him,  but  Clairette  comes  to  his  rescue.  She 
has  found  the  song  denouncing  Larivaudiere,  sings  it,  and  is 
arrested,  notwithstanding  Pitou's  declaration  that  he  is  the 
author  of  it. 


Emily  Soldene  as  Mdlle.  Lange 


LECOCQ  137 

The  second  act  opens  in  Mademoiselle  Lange's  salon.  She 
has  persuaded  Barras  to  release  Clairette  and  have  her 
brought  to  her  apartments,  so  that  she  may  discover  why- 
she  sings  this  song  denouncing  the  government  and  insulting 
her  also.  In  the  meantime  she  has  also  sent  for  Pomponnet, 
her  hairdresser,  and  informs  him  what  his  future  wife  has 
done.  He  replies  that  Pitou  wrote  the  song,  and  that  he 
(Pomponnet)  has  it.  She  orders  him  to  fetch  it  to  her. 
When  Clairette  arrives  they  recognize  each  other  as  old  school 
friends.  Mademoiselle  Lange  assures  her  she  shall  not  go 
back  to  prison  and  that  she  need  not  marry  Pomponnet.  She 
retires  to  Mademoiselle  Lange's  boudoir  when  a  visitor  is 
announced.  It  is  Ange  Pitou,  and  a  love  scene  at  once  occurs. 
The  jealous  Larivaudiere  enters  and  accuses  them  of  being 
lovers.  To  justify  herself  Mademoislle  Lange  declares  that 
Pitou  and  Clairette  are  lovers,  and  the  latter  confirms  the 
statement.  Pomponnet's  voice  is  heard  in  the  outer  room. 
He  is  admitted,  and  promptly  arrested  for  having  the  revo- 
lutionary song  on  his  person.  The  act  closes  with  a  meeting 
of  conspirators,  and  Mademoiselle  Lange's  clever  foiling  of 
the  grenadiers  who  have  come  to  arrest  them,  by  turning  the 
whole  affair  into  a  grand  ball,  to  which  they  are  invited. 

The  last  act  is  occupied  with  plots  and  counter-plots  which 
at  last  succeed  in  disentangling  all  the  complications.  Made- 
moiselle Lange's  perfidy,  as  well  as  Pitou's,  is  shown  up, 
Larivaudiere  has  his  revenge,  and  Clairette  and  Pomponnet 
are  made  happy. 

The  music  of  the  opera  is  so  bright,  gay,  and  characteristic 
that  it  made  Lecocq  a  dangerous  rival  of  Offenbach.  The 
most  conspicuous  numbers  are  Clairette's  pretty  romance, 
"L'Enfant  de  la  Halle"  ("The  Child  of  the  Market"); 
Amaranthe's  jolly  couplets,  "  Marchande  de  maree "  ("A 
beautiful  Fishwoman ") ;  Ange  Pitou's  rondo,  "  Certaine- 
raent  j'aimais  Clairette"  (" 'T  is  true  I  loved  Clairette") 
and  Clairette's  spirited  song,  "  Jadis  les  Rois,  Race  proscrite  " 
("Once  Kings,  a  Race  proscribed"),  in  the  first  act;  an- 
other equally  spirited  song,  "  Comme  un  Coursier  "  ("  Like 
a  Courser");    Pomponnet's  pretty  air,  "  Elle  est  tellement 


188  THE    STANDARD    OPERAS 

innocente  "  ("  She  is  so  innocent  ")  ;  a  charming  sentimental 
duet  for  Mademoiselle  Lange  and  Clairette,  "  Jours  fortvmes 
de  notre  Enfance  "  ("  Happy  Days  of  Childhood  ")  ;  a  strik- 
ing ensemble  in  the  form  of  a  quintet,  "  Oui,  je  vous  le  dis, 
c'est  pour  elle  "  ("  Yes,  't  is  on  her  Account  alone  ")  ;  and 
the  famous  conspirators'  chorus,  "  Quand  on  conspire " 
("When  one  conspires  "),  in  the  second  act;  and  Clairette's 
couplets  with  chorus,  "  Vous  aviez  fait  de  la  Depense  "  ("  You 
put  yourselves  to  great  Expense");  the  humorous  duet, 
"  Larivaudiere  and  Pomponnet,"  and  Clairette's  song,  "  Ah ! 
c'est  done  toi  "  ("Ah!    'tis  you,  then"),  in  the  last  act. 


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LEONCAVALLO   (RUGGIERO) 

I  Pagliacci 

"  T  PAGLIACCI,"  Italian  opera  in  two  acts,  words  by  the 
X  composer,  Ruggiero  Leoncavallo,  was  first  performed  at 
Milan,  May  21,  1892,  and  was  introduced  in  this  country  in 
the  spring  of  1894,  Mme.  Arnoldson  and  Signors  Ancona, 
Gromzeski,  Guetary,  and  De  Lucia  taking  the  principal  parts. 
The  scene  is  laid  in  Calabria  during  the  Feast  of  the  As- 
sumption. The  Pagliacci  are  a  troupe  of  itinerant  mounte- 
banks, the  characters  being  Nedda,  the  Columbine,  who  is 
wife  of  Canio,  or  Punchinello,  master  of  the  troupe;  Tonio, 
the  Clown ;    Beppe,  the  Harlequin ;    and  Silvio,  a  villager. 

The  first  act  opens  with  the  picturesque  arrival  of  the 
troupe  in  the  village,  and  the  preparations  for  a  performance 
in  the  rustic  theatre,  with  which  the  peasants  are  overjoyed. 
The  tragic  element  of  the  composition  is  apparent  at  once, 
and  the  action  moves  swiftly  on  to  the  fearful  denouement. 
Tonio,  the  clown,  is  in  love  with  Nedda,  and  before  the  per- 
formance makes  advances  to  her,  which  she  resents  by  slash- 
ing him  across  the  face  with  Beppe's  riding-whip.  He  rushes 
off  vowing  revenge,  and  upon  his  return  overhears  Nedda 
declaring  her  passion  for  Silvio,  a  young  peasant,  and  ar- 
ranging to  elope  with  him.  Tonio  thereupon  seeks  Canio, 
and  tells  him  of  his  wife's  infidelity.  Canio  hurries  to  the 
spot,  encounters  Nedda;  but  Silvio  has  fled,  and  she  refuses 
to  give  his  name.  He  attempts  to  stab  her,  but  is  prevented 
by  Beppe,  and  the  act  closes  with  the  final  preparation  for 
the  show,  the  grief-stricken  husband  donning  the  motley  in 
gloomy  and  foreboding  silence. 

The  second  act  opens   with  Tonio  beating  the  big  drum, 


140  THE    STANDARD    OPERAS 

and  the  people  crowding  to  the  show,  among  them  Silvio, 
who  manages  to  make  an  appointment  with  Nedda  while  she 
is  collecting  the  money.  The  curtain  of  the  little  theatre  rises, 
disclosing  a  small  room  barely  furnished.  The  play  to  be 
performed  is  almost  an  identical  picture  of  the  real  situation 
in  the  unfortunate  little  troupe.  Columbine,  who  is  to  poison 
her  husband,  Punchinello,  is  entertaining  her  lover,  Harle- 
quin, while  Tonio,  the  clown,  watches  for  Punchinello's  re- 
turn. When  Canio  finally  appears  the  mimic  tragedy  becomes 
one  in  reality.  Inflamed  with  passion,  he  rushes  upon  Nedda, 
and  demands  the  name  of  her  lover.  She  still  refuses  to  tell. 
He  draws  his  dagger.  Nedda,  conscious  of  her  danger,  calls 
upon  Silvio  in  the  audience  to  save  her;  but  it  is  too  late. 
Her  husband  kills  her,  and  Silvio,  who  rushes  upon  the  stage, 
is  killed  with  the  same  dagger.  With  a  wild  cry  full  of  hate, 
jealousy,  and  despair,  the  unfortunate  Canio  tells  the  audi- 
ence "La  commedia  e  finita  "  ("The  comedy  is  finished"). 
The  curtain  falls  upon  the  tragedy,  and  the  excited  audience 
disperses. 

The  story  is  peculiarly  Italian  in  its  motive,  though  the 
composer  has  been  charged  with  taking  it  from  "  La  Femme 
de  Tabarin,"  by  the  French  novelist,  Catulle  Mendes.  Be 
this  as  it  may,  Leoncavallo's  version  has  the  merit  of  brevity, 
conciseness,  ingenuity,  and  swift  action,  closing  in  a  denoue- 
ment of  great  tragic  power  and  capable,  in  the  hands  of  a 
good  actor,  of  being  made  very  effective.  The  composer  has 
not  alone  been  charged  with  borrowing  the  story,  but  also 
with  plagiarizing  the  music.  So  far  as  the  accusation  of 
plagiarism  is  concerned,  however,  it  hardly  involves  anything 
more  serious  than  those  curious  resemblances  which  are  so 
often  found  in  musical  compositions.  As  a  whole,  the  opera 
is  melodious,  forceful,  full  of  snap  and  go,  and  intensely 
dramatic,  and  is  without  a  dull  moment  from  the  prologue 
("Si  puo?  Signore  "),  sung  before  the  curtain  by  Tonio,  to 
that  last  despairing  outcry  of  Canio  ("  La  Commedia  e 
finita"),  upon  which  the  curtain  falls.  The  prominent  num- 
bers are  the  prologue  already  referred  to ;  Nedda's  beautiful 
cavatina  in  the  second  scene  ("  O,  che  volo  d'  Angello  ")  ;  her 


Ifp'S^f 


Alice  Zeppellin  as  Nedda 

Copyright^  Matzene 


LEONCAVALLO  141 

duet  with  Silvio  in  the  third  scene  ("  E  allor  perche");  the 
passionate  declamation  of  Canio  at  the  close  of  the  first  act 
("Recitur!  mentre  preso  dal  Delirio ") ;  the  serenade  of 
Beppe  in  the  second  act  ("  O  Colombino,  il  tenero  ")  ;  and 
the  graceful  dance  music  which  plays  so  singular  a  part  in 
this  fierce  struggle  of  the  passions,  that  forms  the  motive  of 
the  closing  scenes. 


LORTZING  (GUSTAV  ALBERT) 

Czar  and  Carpenter 

CZAR  and  Carpenter/'  opera  comique  in  three  acts,  text 
as  well  as  music  by  Lortzing,  was  first  produced  in 
Berlin  in  1839.  The  opening  of  the  first  act  of  the  "Czar 
and  Carpenter  "  discloses  Peter  the  Great  and  Peter  Ivanoff, 
a  deserter  from  the  Russian  army,  at  work  in  the  great  ship- 
yard of  Saardam.  The  British  and  French  ambassadors,  hav- 
ing  been  notified  that  the  Czar  is  there  in  disguise,  are  search- 
ing for  him  with  the  object  of  negotiating  a  treaty  with  him, 
or,  failing  in  that,  to  abduct  him.  The  British  ambassador 
employs  the  pompous  burgomaster  of  Saardam  to  find  him 
a  Russian  named  Peter,  without,  however,  disclosing  his  real 
character  to  him.  The  burgomaster  happens  upon  Peter 
Ivanojff  and  brings  him  to  the  ambassador,  who,  supposing 
him  to  be  the  Czar,  seeks  to  arrange  a  treaty  with  him,  and 
finally  gives  him  a  passport  so  that  he  may  visit  England. 
Meanwhile  the  people  of  Saardam,  being  informed  that  the 
Czar  is  with  them,  prepare  a  reception  for  him. 

The  French  ambassador,  who  has  also  been  searching  for 
the  Czar,  finds  the  real  one  by  telling  him  the  story  of  a 
Russian  defeat  which  causes  him  to  betray  himself.  The 
Czar,  who  is  now  anxious  to  go  home  and  crush  out  the  re- 
bellion, seeks  for  some  means  to  get  away  without  the  knowl- 
edge of  the  Dutch  and  the  English.  Finding  out  by  chance 
that  Ivanoff  has  an  English  passport,  he  secures  it,  and  gives 
Ivanoff  another  paper  which  he  is  not  to  open  until  an  hour 
has  passed.  During  this  time  Ivanoff  is  enjoying  the  public 
reception,  which  suddenly  is  interrupted  by  the  firing  of 
cannon.     The   gateway   of  the  port  is   opened,  showing  the 


LORTZING  143 

Czar  with  the  Russian  and  French  ambassadors  sailing  away. 
Ivanoff  opens  his  paper,  and  finds  that  his  companion  was  the 
Czar,  who  has  given  him  a  good  situation  as  well  as  his 
consent  to  his  marriage  with  Marie,  the  burgomaster's  niece. 

The  leading  numbers  of  the  first  act  are  the  carpenter's 
spirited  song  ("Grip  your  Axes");  Marie's  jealousy  song 
("Ah!  Jealousy  is  a  bad  Companion");  the  humorous  aria 
of  Van  Bett  ("Oh!  Sancta  Justitia,  I  shall  go  raving"); 
the  long  duet  for  Van  Bett  and  Ivanoff  ("  Shall  I  make  a  full 
Confession?"),  and  the  effective  quartets  in  the  finale.  The 
second  act  contains  the  best  music  of  the  opera.  It  opens 
with  a  mixed  chorus  of  a  bacchanalian  sort  ("  Long  live  Joy 
and  Pleasure  "),  which  after  a  long  dialogue  is  followed  by 
the  tenor  romanza  ("  Fare  thee  well,  my  Flandrish  Maiden  "), 
a  quaint  melody,  running  at  the  end  of  each  stanza  into  a 
duet,  closing  with  full  chorus  accompaniment.  A  sextet  ("  The 
Work  that  we  're  beginning ")  immediately  follows,  which, 
though  brief,  is  the  most  effective  number  in  the  opera.  The 
next  number  of  any  consequence  in  this  act  is  a  rollicking 
bridal  song  ("  Charming  Maiden,  why  do  Blushes  "),  sung 
by  Marie.  The  last  act  has  a  comic  aria  and  chorus  ("  To 
greet  our  Hero  with  a  stately  Reception  "),  and  an  effective 
song  for  the  Czar  ("  In  Childhood,  with  Crown  and  with 
Sceptre  I  played  "). 


MARSCHNER    (HEINRICH) 

* 

Hans  Heiling 

HANS  HEILING/'  romantic  opera  in  three  acts  with  a 
prologue,  text  by  Edouard  Devrient,  was  first  produced 
in  Berlin  in  1833.  Its  theme  is  an  old  Erzgebirg  legend. 
Hans  Heiling,  the  king  of  the  gnomes,  has  fallen  in  love  with 
Anna,  a  beautiful  girl  of  the  upper  earth.  He  announces  to 
the  gnomes  in  the  prologue  that  he  proposes  to  leave  them 
and  join  Anna,  and  succeeds  in  his  purpose  notwithstanding 
the  remonstrances  of  his  mother.  Finding  him  bent  upon 
going,  she  gives  him  a  magic  book  and  set  of  jewels. 

Arrived  in  the  upper  world,  Hans  meets  Anna,  who  accepts 
his  suit  and  a  golden  chain.  Her  old  mother,  Gertrude, 
heartily  approves  of  the  match  as  well  as  of  the  chain.  Anna, 
desirous  of  displaying  her  ornaments,  as  well  as  her  lover, 
begs  him  to  accompany  her  to  a  fair,  but  he  declines  to  go. 
She  is  greatly  disappointed,  and  her  disappointment  changes 
to  fear  when  she  finds  the  magic  book  in  his  room.  She  im- 
plores him  to  destroy  it,  and  at  last  he  consents,  thus  cutting 
off  his  only  connection  with  the  under  world.  Anna  still 
remains  so  disappointed  that  he  at  'last  consents  to  go  to  the 
fair  upon  condition  that  she  will  not  dance.  She  accepts  the 
condition,  but  at  the  fair  she  meets  another  of  her  lovers, 
Conrad,  the  hunter,  and  at  his  urgent  solicitation  she  violates 
the  promise  she  has  made. 

The  second  act  discovers  Anna  in  the  forest,  thinking  only 
of  Conrad.  To  her  suddenly  appear  the  gnomes  and  their 
Queen,  who  reveal  to  her  the  real  identity  of  Hans  and  beg 


MARSCHNER  145 

her  to  give  him  back  to  them.  She  soon  meets  Conrad  and 
implores  his  help.  He  goes  home  with  her,  delighted  to  learn 
that  she  loves  him,  but  immediately  Hans  appears  with  his 
bridal  gift.  He  makes  no  impression  upon  Anna,  who  informs 
him  that  she  has  learned  his  origin.  In  a  rage  he  hurls  his 
dagger  at  Conrad  and  rushes  out. 

The  third  act  reveals  Hans  alone  in  the  mountains  where 
he  decides  to  go  back  to  the  gnomes.  They  appear,  but  have 
little  comfort  for  him  as  they  tell  him  that  having  destroyed 
the  magic  book  he  has  no  further  power  over  them,  and  they 
add  to  his  wretchedness  by  the  announcement  that  Anna  is 
going  to  marry  Conrad.  The  gnomes,  however,  at  last  take 
pity  upon  him,  and  he  returns  with  them  to  the  Queen.  The 
act  closes  with  the  wedding.  As  Anna  appears  for  the  cere- 
mony Hans  is  by  her  side.  Conrad  attacks  him,  but  his 
sword  breaks.  Hans  summons  the  gnomes,  but  the  Queen 
appears  and  persuades  him  to  forgive  Anna  and  Conrad  and 
go  back  to  the  gnome  realm  with  her. 

The  prologue  consists  of  a  chorus  ("  Rastlos  geschafft  ") 
and  a  duet  for  Heiling  and  the  Queen  ("  Genug  beendet"). 
The  principal  numbers  in  the  first  act  are  the  aria  for  the 
Queen  ("  O  bleib'  bei  mir  "),  with  chorus  of  spirits;  terzetto 
for  Anna,  Heiling,  and  Gertrude  ("Ha!  welche  Zeichen  ")  ; 
a  delightful  aria  for  Heiling  ("An  jenem  Tag");  a  brisk 
unison  chorus  of  peasants  ("  Juchheisen  ")  ;  a  song  for  Con- 
rad with  choral  accompaniment  ("  Ein  sprodes  allerliebstes 
Kind  ")  ;  and  the  stirring  finale  ("  Wie  hupft  mir  von  Freude 
das  Herz  "). 

The  second  act  opens  with  a  scene  and  aria  for  Anna 
("  Einst  war  so  tiefer  Freude  "),  which  inevitably  suggests 
Marguerite's  song  in  the  garden  in  Gounod's  "  Faust."  The 
principal  numbers  in  the  act  are  the  ensemble  and  aria  for 
the  Queen  with  choral  accompaniment  ("Aus  der  Klufte  ")  ; 
the  scena  ("  Wohl  durch  der  griinen  Wald  ")  ;  the  duet  for 
Conrad  and  Anna  ("Ha!  dieses  Wort");  Gertrude's  effec- 
tive melodramatic  scene  and  aria  ("Die  Nacht  ")  ;  and  the 
finale  ("  Ihr  hort  es  schon  "). 

The  most  important  numbers  in  the  last  act  are  the  open- 


146  THE    STANDARD    OPERAS 

ing  melodramatic  scena  and  air  with  chorus  ("  Herauf  ")  ; 
the  charming  peasants'  wedding  march;  the  stately  choral 
song  in  the  chapel  ("  Segne  Allmachtiger  ")  ;  the  animated 
duet  for  Anna  and  Conrad  ("  Nun  bist  du  mein  ") ;  and  the 
finale  ("  So  wollen  wir  auf  kurze  Zeit"). 


MASCAGNI    (PIETRO) 

Cavalleria  Rusticana 

"•^AVALLERIA  Rusticana,"  opera  in  one  act,  words 
V^  by  Signori  Targioni-Tozzetti  and  Menasci,  was  written 
in  1890,  and  was  first  performed  at  the  Costanzi  Theatre,  in 
Rome,  May  20,  of  that  year,  with  Gemma  Bellinconi  and 
Roberto  Stagno  in  the  two  principal  roles.  It  had  its  first 
American  production  in  Philadelphia,  September  9,  1891,  with 
Mme.  Kronold  as  Santuzza,  Miss  Campbell  as  Lola,  Guille 
as  Turridu,  Del  Puente  as  Alfio,  and  Jeannie  Teal  as  Lucia. 

The  story  upon  which  the  text  of  "  Cavalleria  Rusticana  " 
is  based  is  taken  from  a  Sicilian  tale  by  Giovanni  Verga.  It 
is  peculiarly  Italian  in  its  motive,  running  a  swift,  sure  gamut 
of  love,  flirtation,  jealousy,  and  death,  —  a  melodrama  of  a 
passionate  and  tragic  sort,  amid  somewhat  squalid  environ- 
ments, that  particularly  lends  itself  to  music  of  Mascagni's 
forceful  sort.  The  overture  graphically  presents  the  main 
themes  of  the  opera,  and  these  themes  illustrate  a  very  simple 
but  strong  story.  Turridu,  a  young  Sicilian  peasant,  arrived 
home  from  army  service,  finds  that  his  old  love,  Lola,  during 
his  absence  has  married  Alfio,  a  carter.  To  console  himself 
he  makes  love  to  Santuzza,  who  returns  his  passion  with  ardor. 
The  inconstant  Turridu,  however,  soon  tires  of  her  and  makes 
fresh  advances  to  Lola,  who,  inspired  by  her  jealousy  of 
Santuzza,  and  her  natural  coquetry,  smiles  upon  him  again. 
The  latter  seeks  to  reclaim  him,  and,  when  she  is  rudely  re- 
pulsed, tells  the  story  of  Lola's  perfidy  to  Alfio,  who  chal- 
lenges Turridu  and  kills  him. 

During   the   overture   Turridu    sings    a   charming   Siciliana 
("  O  Lolo,  c  hai  di  latti  "),  and  the   curtain    rises,  disclosing 


148  THE    STANDARD    OPERAS 

a  Sicilian  village  with  a  church  decorated  for  Easter  service. 
As  the  sacristan  opens  its  doors^  the  villagers  appear  and  sing 
a  hymn  to  the  Madonna.  A  hurried  duet  follows,  in  which 
Santuzza  reveals  to  mother  Lucia  her  grief  at  the  perfidy  of 
Turridu.  Her  discourse  is  interrupted  by  the  entrance  of 
Alfio,  singing  a  rollicking  whip-song  ("  II  Cavallo  scalpita  ") 
with  accompaniment  of  male  chorus.  The  scene  then  de- 
velops into  a  trio,  closing  with  a  hymn  ("  Inneggiamo,  il 
Signor "),  sung  by  the  people  in  the  square,  and  led  by 
Santuzza  herself,  and  blending  with  the  "  Regina  Coeli,"  per- 
formed by  the  choir  inside  the  church  with  organ  accom- 
paniment, the  number  finally  working  up  into  a  tremendous 
climax  in  genuine  Italian  style. 

In  the  next  scene  Santuzza  tells  her  sad  story  to  Lucia, 
Turridu's  mother,  in  a  romanza  of  great  power  ("  Voi  lo 
sapete  "),  closing  with  an  outburst  of  the  highest  significance 
as  she  appeals  to  Lucia  to  pray  for  her.  In  the  next  scene 
Turridu  enters.  Santuzza  upbraids  him,  and  a  passionate 
duet  follows  in  which  Santuzza's  suspicions  are  more  than 
confirmed  by  his  avowal  of  his  passion  for  Lola.  The  duet 
is  interrupted  by  a  song  of  the  latter,  heard  in  the  distance 
with  harp  accompaniment  ("  Fior  di  Giaggolo  ").  As  she 
approaches  the  pair  the  song  grows  livelier,  and  at  its  close 
she  banters  poor  Santuzza  with  biting  sarcasms,  and  assails 
Turridu  with  all  the  arts  of  coquetry.  She  passes  into  the 
church,  confident  that  the  infatuated  Turridu  will  follow  her. 
An  impassioned  duo  of  great  power  follows,  in  which  San- 
tuzza pleads  with  him  to  love  her,  but  all  in  vain.  He  rushes 
into  the  church.  She  attempts  to  follow  him,  but  falls  upon 
the  steps  just  as  Alfio  comes  up.  To  him  she  relates  the 
story  of  her  troubles,  and  of  Turridu's  baseness.  Alfio 
promises  to  revenge  her,  and  another  powerful  duet  follows. 

As  they  leave  the  stage,  there  is  a  sudden  and  most  un- 
expected change  in  the  character  of  the  music  and  the  motive 
of  the  drama.  In  the  place  of  struggle,  contesting  passions, 
and  manifestations  of  rage,  hate,  and  jealousy  ensues  an 
intermezzo  for  orchestra,  with  an  accompaniment  of  harps 
and  organ,  of  the  utmost  simplicity  and  sweetness,  breathing 


Calve  as  ^aiituzza 


MASCAGNI  149 

something  like  a  sacred  calm,  and  turning  the  thoughts  away 
from  all  this  human  turmoil  into  conditions  of  peace  and  rest. 
It  has  not  only  become  one  of  the  favorite  numbers  in  the 
concert  repertory,  but  is  ground  out  from  every  barrel-organ 
the  world  over,  and  yet  it  has  retained  its  hold  upon  popular 
admiration. 

At  its  close  the  turmoil  begins  again  and  the  action  hastens 
to  the  tragic  denouement.  The  people  come  out  of  the  church 
singing  a  glad  chorus  which  is  followed  by  a  drinking-song 
("Viva  il  Vino"),  sung  by  Turridu,  and  joined  in  by  Lola 
and  chorus.  In  the  midst  of  the  hilarity  Alfio  appears.  Tur- 
ridu invites  him  to  join  them  and  drink;  but  he  refuses,  and 
the  quarrel  begins.  Lola  and  the  frightened  women  with- 
draw. Turridu  bites  Alfio's  right  ear,  —  a  Sicilian  form  of 
challenge.  The  scene  closes  with  the  death  of  the  former 
at  Alfio's  hands,  and  Santuzza  is  avenged;  but  the  fickle  Lola 
has  gone  her  way  bent  upon  other  conquests. 


Iris 

"  Iris,"  opera  in  three  acts,  text  by  Luigi  Illica,  was  first 
produced  at  the  Theatre  Costanzi,  Rome,  in  November,  1898, 
and  in  a  revised  form  at  Milan  in  1899.  The  first  act  opens 
with  a  musical  picture  of  dawn  and  reveals  Iris,  a  beautiful 
Japanese  girl,  daughter  of  Cieco,  a  blind  man,  playing  with 
her  dolls  and  talking  adoringly  to  the  sun.  Osaka,  a  young 
roue,  plans  to  abduct  her  with  the  aid  of  his  accomplice, 
Kyoto.  They  arrange  a  puppet  show,  and  disguising  them- 
selves as  players,  seize  Iris  and  carry  her  off  as  she  is  watch- 
ing the  play.  Osaka  has  left  money  for  the  father,  who, 
when  he  receives  it,  believes  she  has  left  him  voluntarily. 
His  rage  is  increased  when  he  is  told  she  has  fled  to  the 
Yoshimara,  a  place  of  evil  resort,  and  he  begs  to  be  taken 
there  that  he  may  curse  her. 

In  the  second  act  Iris  wakens  to  find  herself  in  a  beautiful 
apartment  in  the  Yoshimara,  with  Osaka  and  Kyoto  standing 
near  and  admiring  her.     As  she  awakens,  they  leave,  and  she 


150  THE    STANDARD    OPERAS 

fancies  herself  dead  and  in  paradise.  Osaka  however  shortly 
returns  and  makes  love  to  her,  but  is  baffled  by  her  ignorance 
of  what  he  is  doing.  Thereupon  he  abandons  her  to  Kyoto, 
and  seeks  to  make  money  by  placing  her  on  exhibition  to 
the  street  crowds.  Osaka  makes  a  second  attempt  to  win 
her,  but  in  vain.  Soon  the  blind  father  appears  and  Iris 
flies  to  him,  but  he  flings  mud  in  her  face  and  curses  her. 
She  rushes  from  the  spot  and  throws  herself  into  a  sewer 
basin. 

The  third  act  opens  with  her  discovery  by  rag-pickers  who 
seek  to  despoil  the  body  of  its  dress  and  ornament,  but  Iris 
moves  and  scares  them  away.  She  sinks  back  and  dies,  but 
hovering  between  life  and  death  she  beholds  the  rising  sun, 
and  they  discourse  together.  Flowers  spring  up  about  her 
as  she  is  lifted  up  and  taken  to  the  Infinite. 

The  opening  scene  is  by  far  the  strongest  number  in  "  Iris." 
The  curtain  rises  upon  a  dark  stage.  Gloomy  rumblings  tell 
of  the  night.  Successive  ascents  towards  a  climax  paint  the 
approach  of  dawn,  the  opening  of  the  flowers,  the  increase 
of  light,  and  finally  the  uprising  of  the  sun  in  a  powerful 
outburst  of  instrumentation  with  full  chorus  ("  II  sole  son 
ioson  io  la  Vita  ").  Other  important  numbers  are  the  opening 
song  of  Iris  with  harp  accompaniment  ("  Ho  fatto  un  triste 
Sogno  pauroso  ")  ;  the  graceful  orchestration  accompanying 
the  washerwomen's  chorus;  the  characteristic  puppet  show 
music,  in  which  one  of  the  geishas  hums  an  oriental  melody; 
Iris's  solo  ("  Un  di  al  Tempio  vidi  ")  in  the  second  act;  and 
the  finale  to  the  third  act  in  which  she  sings  to  the  sun  as  she 
sinks  into  death  and  the  sun  answers  her  as  in  the  beginning 
of  the  opera. 


MASSENET    (JULES    EMILE 
FREDERIC) 

Le  Roi  de  Lahore 

LE  Roi  de  Lahore  "  ("  The  King  of  Lahore  "),  opera  in 
five  acts,  text  by  Lovis  Gallet,  was  first  produced  in 
Paris,  April  27,  1877.  The  scene  is  laid  at  Lahore  and  in 
the  Gardens  of  the  Blessed  in  the  Paradise  of  Indra.  Nair, 
a  priestess  of  Indra,  is  sworn  to  celibacy  but  is  in  love  with 
King  Alim  and  is  also  loved  by  his  minister,  Scindia.  The 
latter  declares  his  passion  but  is  repulsed.  Thereupon  he 
informs  Timour,  the  High  Priest,  that  Nair  entertains  a 
lover  in  the  Temple.  A  watch  is  kept  and  the  King  is  dis- 
covered entering  by  a  secret  door.  The  High  Priest  de- 
mands that  he  shall  atone  for  this  profanation  by  going  to 
the  war  against  the  Mussulmans,  and  he  consents.  Eventu- 
ally he  is  betrayed  by  Scindia,  deserted  by  his  army  and 
killed.  He  is  then  transported  to  the  gardens  of  Indra  and 
there  begs  the  divinities  to  permit  him  to  return  to  earth  that 
he  may  find  Nair.  His  prayer  is  granted  but  upon  condition 
that  he  shall  go  back  as  an  ordinary  person,  never  resume  his 
former  position,  and  give  up  his  life  when  Nair  dies.  When 
he  reaches  earth  he  finds  that  Scindia  has  usurped  the  throne 
and  forced  Nair  to  be  his  wife.  Alim  proclaims  him  a  traitor 
and  Scindia  in  turn  denounces  Alim  as  an  impostor.  Nair, 
however,  recognizes  her  lover  and  improves  the  first  oppor- 
tunity to  join  him.  They  are  pursued  by  Scindia,  whereupon 
Nair,  rather  than  submit  to  him,  stabs  herself,  upon  which 
Alim  also  dies  and  the  lovers  are  welcomed  by  Indra. 

The  first  act  opens  with  an  impressive  temple  prayer  to 
Indra,  mostly  in  unison.  A  duet  between  Nair  and  Scindia 
follows  with  beautiful  violin  obbligato  accompaniment  to 
Nair's  recitative.     The  finale  is  very  dignified  and  the  en- 


152  THE    STANDARD    OPERAS 

semble  massive,  especially  as  the  King  enters  the  temple  and 
agrees  to  go  to  the  wars,  and  the  act  closes  with  a  spirited 
war  chorus  behind  the  scenes. 

The  striking  numbers  of  the  second  act  are  the  opening 
song  for  mezzo  soprano,  which  is  followed  by  a  spectacular 
scene  in  the  camp  of  Alim  enlivened  by  the  sports  and  dances 
of  the  slaves,  and  a  most  brilliant  ballet,  though  the  scene 
lies  in  the  desert.  No  place  is  too  remote,  no  time  too  in- 
congruous, for  a  French  composer's  ballet.  A  duet  for  Nair 
and  Kaled  leads  to  a  vigorous  and  most  spirited  chorus,  deal- 
ing with  the  rebellion  against  Alim,  and  this  is  followed  by 
tlie  delightful  love-music  of  Nair  and  Alim,  with  a  tenderly 
melodious  'cello  accompaniment,  leading  up  to  a  strong  finale. 

The  third  act  might  well  be  called  the  Apotheosis  of  the 
Dance.  The  act  opens  in  the  Gardens  of  the  Blessed  in  the 
Paradise  of  Indra  with  a  celestial  march  and  chorus  of  happy 
spirits,  followed  by  a  ballet,  the  music  based  upon  Hindu 
melodies  'and  charming  waltz  movements.  As  a  spectacle  and 
as  an  example  of  refined,  graceful,  fascinating  music,  this 
ballet  is  hardly  excelled  in  modern  operas.  Another  effective 
number  in  this  act  is  Alim's  song  of  joy  which  is  heard  in 
the  celestial  chorus  as  consent  is  given  for  his  return. 

The  fourth  act  opens  with  a  repetition  of  the  spirits'  in- 
cantation music  in  the  finale  of  the  third  act.  The  other 
important  numbers  are  the  pompous  march  attending  the 
coronation  of  Scindia;  Alim's  aria,  "  Anima  doler,"  followed 
by  the  baritone  aria,  "  O  casta  Fior  " ;  the  priestesses'  chorus 
in  the  second  act,  repeated  by  the  orchestra,  followed  by  the 
animated  chorus,  "  Re  dei  regi." 

The  fifth  act  from  a  musical  point  of  view  may  be  summed 
up  in  the  passionate  love-music  for  Nair  and  Alim,  and  the 
dramatic  music  illustrating  Scindia's  rage  and  Indra's  wel- 
come to  the  lovers.  The  opera  is  a  spectacular  one  in  every 
sense  of  the  word  and  yet  of  much  musical  importance. 
Hervey,  one  of  Massenet's  biographers,  says :  "  In  the  third 
act,  Massenet  has  given  full  rein  to  his  fancy,  and  has  com- 
posed dance-music  of  a  really  superior  kind,  which  he  has 
enriched  with  a  piquant  and  effective  instrumentation." 


MASSENET  153 

Le  Cid 

"  Le  Cid,"  opera  in  four  acts  and  ten  tableaux,  text  by 
Dennery,  Gallet,  and  Blau,  was  first  produced  at  L'Academie- 
Nationale  de  Musique,  Paris,  November  30,  1885,  Jean  de 
Reszke  creating  the  part  of  Rodrigue,  Edouard  de  Reszke  that 
of  Don  Diegue,  Pol  Planfon  that  of  Comte  de  Gormas,  and 
Madame  Fides-Devries  that  of  Chimene.  The  first  perform- 
ance in  the  United  States  was  in  New  Orleans.  The  first 
act  opens  in  Burgos  at  the  house  of  Count  Gormas,  Cliimene's 
father,  upon  the  occasion  of  the  knighting  of  Rodrigue  by 
Ferdinand  IV.  It  appears  also  that  Count  Gormas  is  to  have 
a  share  of  the  honors  by  appointment  as  governor  to  the 
King's  son.  It  is  further  developed,  by  the  announcement 
of  Chimene,  that  she  is  in  love  with  Rodrigue.  The  daughter 
of  the  King  is  also  in  love  with  him,  but  as  her  high  position 
forbids  personal  attachments  she  relinquishes  her  claim  in 
favor  of  Chimene.  In  the  next  scene,  Rodrigue  receives  his 
new  sword  in  the  cathedral  and  becomes  a  Knight  of  Saint 
Jacques.  The  unsuspecting  King  meanwhile  makes  Don 
Diegue,  Rodrigue's  father,  the  governor  instead  of  Gormas. 
The  Count  thereupon  in  a  fury  insults  and  assaults  Don 
Diegue  and  he  is  left  disarmed  and  humiliated.  He  calls 
upon  his  son  to  revenge  him,  which  the  latter  is  ready  to 
do  until  he  learns  that  his  opponent  is  Chimene's  father,  but 
in  the  end  filial  duty  prevails. 

The  second  act  opens  with  a  duel  between  Gormas  and 
Rodrigue  in  which  the  former  is  killed.  Chimene  coming  upon 
the  scene  recognizes  his  murderer  and  falls  fainting  into  the 
arms  of  her  attendants,  monks  chanting  a  dirge  behind  the 
scenes.  The  next  tableau  represents  a  Spanish  fete.  In  the 
midst  of  the  revelry  Chimene  appears  and  implores  the  King 
to  punish  Rodrigue.  Her  pleadings  are  interrupted  by  the 
sudden  appearance  of  a  Moorish  cavalier,  sent  by  Boabdil, 
King  of  Grenada,  to  declare  war.  Thereupon  Ferdinand  de- 
cides to  offer  the  leadership  of  his  forces  to  Rodrigue  and 
bids  Chimene  cherish  and  delay  her  revenge  until  the  end 
of  the  campaign. 


154  THE    STANDARD    OPERAS 

The  third  act  reveals  Chimene  weeping  in  her  chamber 
and  Rodrigue  in  her  presence;  notwithstanding  recent  events 
they  declare  their  love  for  each  other  and  Rodrigue,  the  Cid, 
goes  away  happy.  In  the  next  scene  the  Spanish  soldiers 
in  the  Cid's  camp  are  seen  revelling  while  the  enemy  is  near. 
Rodrigue  expostulates  with  them  and  finally  retires,  despair- 
ing of  his  fate,  but  the  vision  of  Saint  Jacques  appears  and 
proclaims  him  victor  in  the  coming  battle.  The  announce- 
ment is  confirmed.  In  the  last  act  a  rumor  of  the  Cid's 
death  reaches  court  and  Chimene  is  prostrated  with  grief  and 
makes  a  passionate  avowal  of  her  love  for  him,  but  when  the 
report  is  contradicted  and  Rodrigue  is  announced  as  approach- 
ing, the  changeable  Chimene  demands  his  head.  The  sensible 
King  apparently  gives  way  and  orders  that  she  shall  pronounce 
sentence.  At  this  unexpected  decision  she  once  more  changes 
and  orders  Rodrigue  to  live  and  love  her.  She  is  specially 
moved  to  this  reconciliation  when  the  Cid  draws  his  dagger 
to  kill  himself  because  she  refuses  to  accept  the  hand  of  the 
man  who  slew  her  father.     Chimene  was  a  changeable  person. 

The  important  numbers  of  the  first  act  are  the  brief  but 
graceful  duet  for  Chimene  and  her  father  ("  Que  c'est  beau  "), 
and  the  duet  for  Chimene  and  the  Infanta  ("Ah!  la  chere 
Promesse"),  which  intermingles  with  the  chimes  of  bells, 
sonorous  organ  peas,  and  fanfares  of  the  knightly  ceremonial, 
followed  up  by  Rodrigue's  bold  and  soldierly  sword  song  ("  O, 
noble  lame  Etincelant  "),  in  which  he  sings  his  allegiance  to 
Spain  and  dedicates  his  sword  to  Saint  Jacques.  The  remain- 
ing numbers  of  striking  importance  in  this  act  are  the  music 
to  the  quarrel  scene  and  the  soliloquy  of  the  insulted  Don 
Diegue  ("  O  Rage,  O  Desespoir"). 

The  second  act  opens  with  a  fine  declamatory  scene  for 
Rodrigue  ("Perce  jusques  au  fond  du  Cceur"),  followed  by 
the  duel  music  ("  A  moi,  Comte,  deux  Mots  !  "),  and  the  dra- 
matic music  to  Chimene's  demand  that  the  slayer  of  her  father 
shall  reveal  himself,  closing  with  the  thrilling  cry  "  Ah,  lui ! 
Ciel !  Rodrigue  !  c'est  lui !  "  which  is  heard  through  the  solemn 
strains  of  the  De  Profundis.  In  the  next  scene  occurs  the 
fete  music  which  is  of  the  most  attractive  Spanish  character, 


Breval  as  Chimene 

Copyright,  Aime  Dupont 


MASSENET  155 

including  the  Castillane,  Andalouse,  Aragonaise,  Catalane, 
Madrilene,  and  Navarraise.  A  distinctive  feature  in  this  scene 
is  the  Infanta's  "Alleluia."  The  great  ensemble  ("Ah!  je 
doute  et  je  tremble")  which  follows  Chimene's  demand  for 
justice  closes  the  act. 

The  third  act  opens  with  Chimene's  touching  soliloquy 
("  De  cet  affreux  Combat "),  followed  by  one  of  the  most 
powerful  numbers  in  the  whole  work,  the  duet  between  Chimene 
and  Rodrigue  ("Oh,  Jours  de  premiere  Tendresse  ").  Then 
follow  the  camp  scene  with  its  dance  music  of  a  Moorish 
rhapsody  and  the  effective  apparition  of  Saint  Jacques,  ac- 
companied by  harps  and  celestial  voices  promising  victory. 
The  sword  song  of  the  first  act,  transformed  into  a  battle 
song,  closes  the  act.  The  principal  numbers  of  the  last  act 
are  the  duet  of  Diegue  and  Chimene  mourning  the  supposed 
death  of  Rodrigue,  the  pageantry  music  ("  Gloire  a  celui  que 
les  Rois  maures  "),  in  which  Massenet  always  excels,  and  the 
climax  at  the  close,  in  which  Chimene  accepts  the  hand  of 
Rodrigue,  closing  with  the  spirited  outburst,  "  Gloire  au  Cid, 
au  Vainqueur." 

Manon 

"  Manon,"  opera  in  four  acts,  text  by  Meilhac  and  Gille, 
founded  upon  Abbe  Prevost's  famous  novel,  which  was  also 
the  inspiration  for  Halevy's  ballet  and  Balfe's  and  Auber's 
operas  based  on  the  same  subject,  was  first  produced  in  Paris, 
January  19,  1884,  Mme.  Heilbronn  creating  the  part  of  Manon 
in  London,  May  7,  1885;  and  in  the  United  States,  at  the 
New  York  Academy  of  Music,  December  23,  1885.  The  first 
act  opens  in  the  courtyard  of  an  inn  where  several  travelers 
are  arriving,  among  them  Manon,  who  has  been  consigned 
to  a  convent  against  her  will.  There  she  meets  the  Chevalier 
des  Grieux  and  they  fall  in  love  with  each  other,  notwith- 
standing the  remonstrances  of  her  cousin  Lescaut,  who  is 
travelling  with  her,  and  incontinently  elope.  Guillot  Monfon- 
taine,  an  old  roue  and  gambler  who  has  been  captivated  by 
her  beauty,  is  much  chagrined  when  he  learns  of  the  elopement. 


156  THE    STANDARD    OPERAS 

'  In  the  second  act  the  lovers  are  in  Paris,  where  they  have 
been  followed  by  Lescaut  and  Bretigny,  another  of  Manon's 
lovers.  Lescaut's  anger  is  appeased  by  Des  Grieux's  promise 
to  marry  her,  but  when  she  finds  out  that  the  latter  has  not 
wealth  enough  to  suit  her,  and  besides  is  informed  by  Bretigny 
that  Des  Grieux  will  be  abducted  that  night,  she  consoles 
herself  by  becoming  Eretigny's  mistress. 

The  third  act  opens  in  the  gardens  of  the  Cours  de  la  Reine 
during  an  open  air  fete.  Manon  is  among  the  pleasure-lovers 
with  Bretigny,  but  hearing  that  Des  Grieux  is  about  to  take 
holy  orders,  she  follows  him  to  Saint  Sulpice  and  prevails 
upon  him  to  abandon  his  purpose  and  come  back  to  her. 

In  the  last  act  Des  Grieux  is  found  in  a  gambling  room, 
where  he  has  been  winning  large  sums  from  Guillot,  encour- 
aged by  Manon,  who  grows  more  and  more  affectionate  as  he 
increases  his  winnings.  The  playing  is  at  last  interrupted 
by  the  police,  who  have  been  privately  called  by  Guillot  in 
revenge  against  Manon,  who  had  rejected  his  advances.  She 
and  Des  Grieux  are  placed  under  arrest,  but  Des  Grieux  is 
saved  by  his  father,  who  pays  his  debts.  Manon  is  sentenced 
to  transportation,  but  on  the  road  to  Havre  she  is  overcome 
by  exhaustion  and  sorrow  and  dies  in  Des  Grieux's  arms. 

In  an  opera  as  musically  compact  as  this,  and  in  which  the 
instrumentation  plays  so  important  a  part,  even  to  the  ac- 
companiment of  spoken  dialogue  as  well  as  in  the  character- 
ization of  the  dramatis  personce  by  motifs,  and  in  which  the 
development  of  the  story  is  perhaps  given  greater  dramatic 
intensity  by  the  orchestra  than  by  the  voice,  it  is  diificult  to 
follow  the  work  by  individual  numbers.  Manon,  Des  Grieux, 
and  Lescaut  are  much  more  easily  recognized  by  the  melodies 
which  introduce  and  accompany  them  than  in  any  other  man- 
ner. One  critic  has  excellently  said  of  the  work  in  general:  * 
"The  subject  is  essentially  French,  or  rather  Parisian,  and 
the  music  of  Massenet  fits  it  like  a  glove.  The  composer's 
mannerisms  seem  less  out  of  place  in  the  mouth  of  Manon 

*  See   article  "Jules   Massenet"    in   Arthur   Hervey's   "Masters   of 
French  Music." 


MASSENET  157 

than  they  do  in  that  of  Mary  Magdalen.  Massenet  is  essen- 
tially a  eolorist,  and  even  as  he  had  succeeded  in  imparting 
an  Eastern  cachet  to  his  '  Roi  de  Lahore,'  and  giving  a  tinge 
of  the  antique  to  his  music  for  '  Les  Erinnyes/  so  in  '  Manon  ' 
he  has  felicitously  caught  the  spirit  of  the  last  century.  This 
delicately  perfumed  score  is  in  many  places  suggestive  of  the 
boudoir  of  a  petite  maitresse."  While  it  is  difficult  to  dissect 
"  Manon,"  yet  it  may  be  said  that  some  of  the  "  suggestive 
places"  are  Manon's  opening  song;  the  charming  romanza, 
just  before  the  seizure  of  Des  Grieux  ("  Piccolo  casetta 
bianca  ")  ;  the  delightfully  flowing  dream  song  of  Des  Grieux 
with  the  muted  violin  accompaniment;  the  great  impassioned 
duet  of  Manon  and  Des  Grieux  in  the  Seminary  with  its  even 
greater  orchestral  accompaniment,  set  off  against  the  music 
of  the  church;  the  minuet  in  the  fete  which  afterwards  ac- 
companies Manon  so  frequently,  and  which  in  this  scene  is 
heard  through  Manon's  passionate  pleading  with  Des  Grieux; 
and  the  four  effective  finales  which  are  all  powerfully  musical 
and  dramatic  in  effect. 

Esclarmonde 

"  Esclarmonde,"  designated  by  its  composer  "  opera  roma- 
nesque,"  in  four  acts  and  eight  tableaux,  besides  prologue  and 
epilogue,  text  by  Blau  and  de  Gramont,  was  prodiiced  for  the 
first  time  at  the  Theatre  National  de  I'Opera  Comique,  Paris, 
May  15,  1889,  with  the  following  cast  of  principal  parts: 

Esclarmonde Miss  Sybil  Sanderson. 

Parseis Mile.  Nardi. 

Roland M.  Gibert. 

Phorcas M.  Taskin. 

Bishop  of  Blois .    .    .  M.  Bouvet. 

Phorcas,  Emperor  of  Byzantium,  tired  of  rule,  resolves  to 
delegate  it  to  his  daughter  Esclarmonde,  whom  he  has  in- 
structed in  magic,  but  upon  condition  that  she  conceal  her 
beauty  from  men  until  her  twentieth  year,  when  her  hand 
shall   be    the   prize    at   a   tournament,   the   penalty    for   non- 


158  THE    STANDARD    OPERAS 

fulfilment,  however,  being  the  loss  both  of  legal  and  magical 
powers.  She  falls  in  love  with  Roland,  a  French  cavalier, 
who,  of  course,  has  never  seen  her  face,  and  by  her  magic  she 
discovers  that  he  is  affianced  to  a  daughter  of  the  King  of 
France.  She  also  sees  him  hunting  in  the  forest  of  Ardennes. 
By  her  orders  he  is  transported  to  an  enchanted  island  where 
she  joins  him  and  enters  into  a  mystical  sort  of  alliance  with 
him,  still  concealing  her  name  and  face.  Meanwhile  France 
is  invaded  by  Saracens,  so  Esclarmonde  gives  him  a  magic 
sword  with  a  blade  that  shines  by  night  like  the  sun,  is  in- 
vincible in  the  hand  of  a  true  knight,  but  useless  to  a  perjurer. 
Roland,  with  this  weapon,  delivers  the  city  of  Blois,  and  in 
reward  the  King  of  France  offers  him  his  daughter's  hand, 
which  Roland  declines,  subsequently  telling  the  Bishop  the 
secret  cause  of  his  action  in  his  confession.  The  Bishop  sur- 
prises the  lovers,  tears  off  Esclarmonde's  veil,  and  drives  her 
away  by  exorcism.  She  loses  her  power,  but  her  father  agrees 
to  restore  it  to  her  if  she  will  abandon  Roland,  otherwise  he 
must  die.  Esclarmonde  resigns  herself  to  this  sacrifice  and 
Roland  seeks  for  death  in  the  tournament,  but  instead  he  is 
crowned  with  laurels  and  wins  Esclarmonde. 

The  prologue  contains  a  solo  for  Phorcas  ("  Dignitaires ! 
Guerriers !  ")  in  which  he  announces  his  intention  to  abdicate, 
and  the  appearance  of  Esclarmonde,  enveloped  in  her  veil, 
who  enters  to  the  choral  accompaniment  ("  O  divine  Esclar- 
monde ").  The  first  act  opens  with  Esclarmonde's  song 
("  Comme  il  tient  ma  Pensee  "),  followed  by  a  duet  for  her  and 
Parseis  ("  O  ma  Soeur  "),  this  is  in  turn  followed  by  a  duet  for 
Esclarmonde,  Parseis,  and  Eneas,  the  jiance  of  Parseis 
("  Salut,  Imperatrice  ").  A  very  characteristic  chorus  of 
spirits  ("O  Lune!  triple  Hecate!  O  Tanit !  Astarte!") 
leads  up  to  a  duet  for  Parseis  and  Esclarmonde  ("  Dans  la 
Foret  des  Ardennes  "). 

The  second  act  opens  with  another  of  Massenet's  always 
interesting  ballets,  after  which  comes  a  strong  duet  for 
Esclarmonde  and  Roland  ("  Sois  benie,  O  INIagie  "),  followed 
by  another  effective  spirit  chorus,  reaching  a  fine  climax  on 
the  words,  "  C'est  I'Heure  de  I'Hymenee !  " 


MASSENET  159 

The  third  act  opens  with  a  chorus  of  the  people  ("  O  Blois ! 
miserable  Cite!"),  followed  by  the  Bishop's  prayer  ("  Dieu 
de  misericorde  "),  in  which  all  join.  The  next  number  of 
striking  merit  is  Roland's  air  ("  La  Nuit  sera  bientot  venue  "), 
followed  by  an  expressive  duet  for  Roland  and  the  Bishop 
("  Mon  fils,  je  te  benis  ").  At  the  close  of  this  number 
Esclarmonde's  voice  is  heard  calling  Roland,  followed  by  the 
bravura  aria  ("  Roland!  tu  m'as  trahie  "),  which  is  extremely 
brilliant  and  difficult,  as  it  makes  exacting  demands  upon  the 
voice. 

In  the  last  act  the  principal  numbers  are  a  cantabile 
("  Regarde  les  Yeux  ")  ;  a  melodious  song  for  Esclarmonde 
("Plus  en  profond  Sommeil");  and  the  duet  with  Roland 
("  Viens,  viens  ").  The  epilogue  merely  repeats  the  material 
of  the  prologue.  The  opera  as  a  whole  is  quite  spectacular 
but  effective  music  also  forms  an  important  part  of  it.  As 
in  "  Manon  "  the  instrumental  part  is  the  strongest.  It  is 
built  somcM^hat  on  the  lines  of  the  "  music  of  the  future  "  in 
its  use  of  motifs.  Indeed  one  of  the  French  critics  after  the 
opening  performance  called  Massenet  "  Mile.  Wagner." 


Griselidis 

"  Griselidis,"  an  opera,  with  prologue  and  three  acts,  libretto 
by  Armand  Silvestre  and  Eugene  Morand,  was  first  produced 
in  Paris  in  1901  and  in  this  country  in  1909.  It  is  based  upon 
a  mystery  play. 

The  prologue  opens  with  a  scene  in  southern  France  with 
Alain,  the  shepherd,  singing  of  his  love  for  Griselidis.  The 
Marquis  Saluzzo,  lord  of  the  region,  sees  her,  takes  her  away 
from  Alain,  and  marries  her.  In  the  first  act  the  Marquis, 
about  to  depart  for  the  Crusades,  is  warned  by  the  Prior  that 
the  Devil  will  tempt  his  v/ife  to  be  unfaithful  while  he  is 
away,  but  he  has  such  faith  in  her  that  he  dares  the  Devil 
to  do  his  worst.  The  latter  wagers  he  will  be  successful  and 
the  Marquis  accepts  the  wager  and  gives  him  the  wedding 
ring  as  a  pledge. 


160  THE    STANDARD    OPERAS 

The  second  act  opens  on  the  terrace  by  the  castle.  The 
Devil  appears  with  his  wife  Flamina,  who  is  jealous  of  him, 
and  spiteful  against  all  wives.  She  is  aiding  her  husband, 
therefore,  in  his  villanous  plot  and  is  more  than  willing  to 
ruin  Griselidis,  and,  to  carry  out  her  part,  appears  as  a  slave. 
They  inform  her  that  the  Marquis  has  ordered  Flamina  to  be 
the  head  of  the  house.  She  consents,  and  the  Devil  then  brings 
Alain  with  his  declaration  of  love,  hoping  that  Griselidis  will 
accept  him  and  thus  solace  herself  for  the  Marquis'  supposed 
affront.  She  is  about  to  do  so  when  her  little  boy  Loys  ap- 
pears and  saves  her.  The  infuriated  Devil  seizes  the  boy 
and  carries  him  away. 

The  third  act  discloses  Griselidis  praying  at  the  shrine  of 
Saint  Agnes  from  which  the  Devil  has  removed  the  image. 
The  Devil  is  at  her  side  and  tells  her  a  pirate  has  her  boy, 
hut  that  he  will  be  restored  to  her  for  a  kiss.  She  starts  to 
find  Loys  and  meets  the  Marquis  returning  from  the  wars. 
The  plot  of  the  Devil  is  foiled  when  the  Marquis  informs  her 
that  he  never  sent  any  one  to  be  her  mistress,  and  they  are 
speedily  reunited.  The  Devil  then  returns  and  taunts  the 
Marquis  with  the  loss  of  the  child.  In  a  rage  he  attempts 
to  seize  his  sword,  but  the  weapons  on  the  wall  disappear  as 
if  by  magic.  They  kneel  before  the  altar  of  Saint  Agnes 
imploring  help.  Suddenly  the  cross  upon  it  changes  to  a 
flaming  sword.  Griselidis  appeals  again  for  help  and  to  the 
accompaniment  of  a  peal  of  thunder  the  candles  are  lighted 
and  the  triptych  of  the  altar  opens,  disclosing  the  boy  at  the 
feet  of  the  saint,  whereupon  the  Devil  disappears,  vanquished. 

The  music  of  the  opera  abounds  in  melodic  beauty  and 
thrilling  episodes.  Its  leading  features  are  the  opening  song 
of  Alain,  the  invocation  scene  of  the  Devil  in  the  forest  with 
the  responses  of  the  unseen  choir,  the  temptation  scene  in  the 
garden,  Griselidis'  solo  in  the  second  act  with  a  beautiful  viola 
accompaniment,  Satan's  satirical  song,  and  the  climax  of  the 
miracle  in  the  oratory.  The  choral  parts  are  delightful 
throughout  and  the  chorus  is  always  invisible,  which  adds  the 
feeling  of  mystery.  The  orchestration  lends  itself  to  the  same 
feeling  and  contains  many  beautiful  solo  effects.     Though  the 


MASSENET  161 

situations  might  suggest  it,  it  is  never  theatrical,  but  always 
adapts  itself  to  the  mysterious  and  sometimes  supernatural 
mood. 

Herod'iade 

"  Herodiade  "  is  one  of  Massenet's  earlier  works,  having 
been  written  in  1877.  It  was  first  intended  for  production  in 
Milan  in  the  Spring  of  1881,  but  was  postponed  and  was  not 
given  until  December  of  that  year,  in  Brussels.  Massenet  then 
made  some  changes  in  it  for  production  in  Paris  in  188i.  In 
1903  it  was  revived  in  Paris  and  was  then  taken  to  London 
where  after  many  alterations  of  the  text  by  the  Lord  Cham- 
berlain it  was  produced  as  "  Salome."  The  original  libretto 
by  Zanardini  was  made  over  in  most  absurd,  inconsistent,  and 
incongruous  fashion  by  Milliet  and  Gremiet,  and  in  this  form 
it  was  produced  in  this  country  in  1908. 

The  opera  is  arranged  in  four  acts.  The  first  opens  in  a 
court  of  the  palace  of  Herod,  where  Phanuel,  an  astrologer, 
is  berating  some  merchants  for  not  expelling  the  Romans. 
Salome  enters  and  tells  Phanuel  that  she  is  following  John, 
whom  she  met  in  the  desert  where  she  was  abandoned  by  her 
mother.  After  her  exit  Herod  enters  with  a  declaration  of  his 
love  for  Salome,  but  is  interrupted  by  Herodias'  demand  of 
vengeance  ujjon  John  for  denouncing  her.  John  next  appears 
and  repeats  his  denunciation,  whereupon  Herod  and  Herodias 
leave.  Salome  appears  again  and  declares  her  love  for  John, 
who  bids  her  forget  love  and  think  of  higher  things. 

The  second  act  transpires  in  Herod's  apartments.  He  de- 
clares to  Phanuel  he  will  expel  the  Romans  and  avail  himself 
of  John's  influence  to  make  himself  king.  In  the  next  scene 
he  urges  the  populace  to  rise,  but  upon  the  appearance  of 
Vitellius,  the  Roman  proconsul,  the  people  follow  him.  John 
next  appears,  followed  by  Salome  and  Canaanite  women  who 
greet  the  Proconsul  enthusiastically,  while  Phanuel  draws 
Herod  away. 

The  third  act  opens  in  Phanuel's  house,  where  Herodias 
requests  him  to  point  out  for  her  the  star  of  the  woman  who 


162  THE    STANDARD    OPERAS 

has  stolen  Herod's  love  from  her.  He  does  so  and  while 
Herodias  is  uttering  threats  of  vengeance  Phanuel  shows  her 
Salome  entering  the  Temple.  In  the  change  of  scene  Salome 
falls  exhausted  as  Herod  enters.  He  declares  his  love  for  her 
and  is  spurned,  whereupon  he  threatens  to  find  his  rival  and 
send  them  both  to  the  executioner.  The  priests  meanwhile 
are  importunate  in  their  demands  that  John'  shall  be  sacrificed. 
He  is  brought  in,  and  Herod  offers  to  save  him  if  he  will  abet 
him  in  his  plans.  He  refuses,  and  again  the  priests  clamor 
for  his  blood.  Salome  throws  herself  at  his  feet  asking  that 
she  may  share  his  fate.  Herod,  recognizing  John  as  his  rival, 
orders  the  execution  of  both. 

The  last  act  opens  in  a  subterranean  vault  of  the  Temple. 
Salome  has  been  pardoned  by  Herod,  but  she  suddenly  ap- 
pears with  the  declaration  to  John  that  she  has  come  to  die 
with  him.  The  last  scene  transpires  in  the  Proconsul's 
banquet-hall.  Salome  is  there  and  appeals  to  Herod  and 
Herodias  for  John's  life.  "  H  you  are  a  mother,  have  pity," 
she  exclaims.  At  this  word  Herodias  is  seized  with  remorse 
and  begins  to  relent,  but  when  the  executioner  appears  with 
a  bloody  sword,  Salome  draws  a  dagger  and  with  the  cry, 
"  You  have  killed  him,"  hurls  herself  upon  Herodias,  who 
exclaims,  "  Pity  me !  I  am  your  mother."  The  revelation 
comes  too  late.     Herodias  is  killed. 

From  this  rough  sketch  of  the  outline  it  will  be  seen  how 
absurd,  if  not  irreverent,  the  story  is.  One  of  Massenet's 
critics  says,  "  He  lacks  the  depth  of  thought  and  strength  to 
grapple  with  Biblical  subjects."  He  was  certainly  aided  and 
abetted  by  his  librettists  in  their  effort  to  make  a  commonplace 
operatic  love  story  out  of  the  Biblical  narrative.  To  add  to 
the  general  incongruity,  the  work  abounds  in  sensuous  melodies 
and  a  general  condition  of  mellifluousness  unbecoming  the 
Scriptural  story  and  better  adapted  to  the  Songs  of  Solomon 
than  to  the  fate  of  John  the  Baptist.  And  yet  the  music  in 
itself  has  great  charm.  The  duets  of  John  and  Salome  are 
alluring.  Salome's  aria,  "  Ilest  doux,  il  est  bon,"  and  Herod's 
beautiful  aria,  "  Vision  fugitive,"  are,  and  will  long  remain, 
prime   favorites  in  the  concert-room.     The  concerted  effects 


MASSENET  163 

also,  like  the  scene  in  the  Temple,  with  the  religious  service 
and  intonings,  the  entrance  of  the  Proconsul  with  the  stately 
fanfares  of  trumpets  and  martial  music,  followed  by  the 
Canaanites  singing  hosannahs,  and  the  fascinating  ballet  of  the 
Babylonian  dancers,  form  ensembles  that  irresistibly  appeal 
to  eye  and  ear,  and  make  one  unmindful  of  the  absurd  story. 


Werther 

The  opera  of  "  Werther,"  or  lyrical  drama,  as  it  is  usually 
styled,  was  written  in  1887,  but  it  was  not  produced  until  1892. 
It  was  while  Massenet  was  in  Vienna  superintending  re- 
hearsals of  his  "  Manon  "  that  he  was  requested  to  bring  out 
"  Werther  "  at  the  Imperial  Opera  House.  It  proved  to  be 
such  a  great  success  that  it  was  performed  in  the  following 
year  at  the  Opera  Comique,  Paris,  and  its  success  was  re- 
peated there.  It  was  first  given  in  this  country  in  1894,  and 
has  also  been  produced  in  several  seasons  since  that  time. 

"Werther"  is  arranged  in  three  acts,  the  time  1772,  and 
the  place  near  Wetzlar.  The  text,  founded  upon  Goethe's 
"  Sorrows  of  Werther,"  is  by  Edouard  Blau,  Paul  Millet,  and 
Georges  Hartmann.  The  first  act  opens  at  the  house  of  the 
Bailiff,  the  heroine's  father,  where  Charlotte,  Sophie  her  sister, 
and  others  are  preparing  for  a  ball.  Before  leaving,  Char- 
lotte "  cuts  the  bread  and  butter "  for  the  children.  The 
Bailiff  presents  Werther  to  her  and  they  all  go  to  the  ball. 
Albert,  her  affianced,  in  the  meantime  comes  back  from  a 
journey  and  goes  to  the  inn  intending  to  meet  her  in  the 
morning.  When  Werther  and  Charlotte  return  from  the  ball, 
he  is  so  violently  in  love  with  her  that  he  makes  a  proposal 
which  she  at  first  refuses,  and  then  she  displays  great  agita- 
tion as  she  reflects  upon  what  she  has  done.  Werther  leaves 
disheartened. 

In  the  second  act  Charlotte  and  Albert  have  been  married 
three  months.  Werther  sees  them  entering  church  and  is  so 
overcome  that  he  falls  to  the  ground.  Albert  rushes  to  him, 
assures  him  he  understands  it  all,  and  forgives  him.     Werther 


164  THE    STANDARD    OPERAS 

thanks  him  and  asks  for  his  friendship.  Sophie  now  appears 
with  flowers  for  him,  and  Albert  vainly  urges  him  to  pay  his 
attentions  to  her.  Charlotte  at  last  convinces  him  that  she 
is  true  to  her  husband,  which  adds  to  the  "  sorrows  of 
Werther,"  as  well  as  to  those  of  Sophie. 

The  third  act  opens  in  Charlotte's  home.  She  has  discov- 
ered that  she  really  loves  Werther  and  fears  for  herself  as 
she  reads  his  letters  hinting  at  self-destruction.  In  Albert's 
absence  the  distracted  Werther  appears  at  her  door.  They 
have  a  long  interview  in  which  she  does  not  deny  her  love  but 
says  it  is  in  vain  and  flees  from  him.  He  takes  Albert's  pistol 
and  leaves,  and  in  the  end  kills  himself.  Before  he  dies  Char- 
lotte reaches  him  again,  confesses  her  love,  and  begs  his  for- 
giveness as  he  expires  in  her  arms  in  a  denouement  somewhat 
different  from  that  described  by  Thackeray  in  his  well-known 
verse: 

Charlotte,  having  seen  his  body 

Borne  before  her  on  a  shutter. 
Like  a  well-conducted  person 

Went  on  cutting  bread  and  butter. 

Notwithstanding  the  morbid  character  of  the  text  and  the 
tiresome  nature  of  Werther's  surging  passion  with  its  sui- 
cidal ending,  Massenet's  score  is  characterized  by  refinement, 
beauty,  and  tenderness  instead  of  the  languorous  and  sensu- 
ous touches  one  might  naturally  expect  in  his  treatment  of 
such  a  tempting  subject.  Like  Gounod  he  is  fond  of  senti- 
mental scenes  and  is  somewhat  feminine  in  his  treatment  of 
them.  He  once  said :  "  We  musicians,  like  the  poets,  must  be 
the  interpreters  of  true  emotion.  To  feel,  to  make  others  feel, 
therein  lies  the  whole  secret."  He  has  succeeded  in  doing 
this  in  his  "  Werther."  It  abounds  in  graceful,  refined, 
melodic  beauty.  The  Christmas  Carol  and  Werther's  two 
songs  in  the  first  act,  Sophie's  gladsome  aria  and  Werther's 
closing  song  in  the  second,  and  the  duets  of  Charlotte  and 
Werther  in  the  third  illustrate  this. 


Maggie  Teyte  as   Cinderella 

Copyright,  I\Tafze7ie 


MASSENET  165 


Cendrillon 


"  Cendrillon,"  entitled  on  the  score  a  "  Fairy  Tale "  in 
four  acts  and  six  tableaux,  text  by  Henri  Cain,  was  first  per- 
formed in  Paris,  at  the  Opera  Comique,  May  24,  1899.  The 
libretto,  written  by  Henri  Cain,  is  based  upon  the  well- 
known  fairy  tale  of  Cinderella  by  Perrault. 

The  first  act  opens  at  the  home  of  Madame  de  la  Halliere, 
who  is  preparing  to  take  her  two  daughters  to  the  ball  at 
which  the  young  Prince  is  to  select  his  wife.  Cendrillon  is 
the  daughter  of  her  husband,  Pandolph,  by  his  first  wife,  and 
is  left  at  home  while  her  father,  the  madame,  and  her  two 
daughters  go  to  the  ball.  After  they  are  gone  the  fairy  god- 
mother appears,  dresses  Cendrillon  in  finery,  and  sends  her 
to  the  festivity. 

In  the  second  act  Prince  Charming  is  revealed  in  the  palace 
gardens  wandering  about  dejectedly.  His  father  appears  and 
tells  him  that  he  must  select  a  wife  as  the  remedy  for  his 
ennui.  Many  ladies  show  off  their  graces  before  him,  among 
them  Madame  de  la  Halliere's  daughters,  but  their  appeals 
are  useless.  At  last  he  espies  Cendrillon  and  falls  in  love 
with  her  at  first  sight,  but  at  the  stroke  of  the  midnight  bell 
she  obeys  the  fairy  godmother's  instruction  and  disappears, 
leaving  her  glass  slipper  behind  her  as  the  only  consolation 
for  the  Prince. 

The  third  act  discloses  Cendrillon  about  to  end  her  un- 
happy life  at  the  Fairies'  Oak  and  the  Prince  arriving  there 
for  the  same  purpose.  The  fairies  render  them  invisible  to 
one  another  and  they  fall  asleep.  In  the  last  act  Cendrillon 
imagines  that  her  adventure  was  only  a  dream,  but  gives  up 
the  delusion  when  she  learns  that  the  Prince  is  seeking  for 
the  owner  of  the  slipper.  In  the  finale  it  is  tried  on  and 
fits  her  and  she  becomes  the  Princess,  much  to  her  delight 
and  that  of  her  father  and  the  discomfiture  of  the  madame 
and  her  two  daughters. 

The  most  attractive  numbers  in  the  opera  are  instrumental, 
particularly  the  music  accompanying  the  dances  and  the  fairy 
scenes,  and  those  assigned  to  the  Fairy  Queen,  as  well  as  the 


166  THE    STANDARD    OPERAS 

love  scene  between  Cendrillon  and  the  Prince.  The  music 
throughout  is  light  and  sparkling  and  peculiarly  expressive 
of  the  various  situations.  The  opera  is  rather  a  succession 
of  musical  episodes  than  a  sustained  emotional  work. 


Thais 

"  Thais/'  a  lyric  opera,  the  libretto  by  Gallet,  was  first 
produced  in  Paris  in  1894.  It  is  arranged  in  four  acts  and 
the  scene  is  laid  at  Thebes  and  in  the  desert,  during  the 
Greek  occupation  of  Egypt. 

The  first  act  opens  beside  the  Nile  and  discloses  the  monks 
at  supper.  Athanael,  a  young  monk,  who  has  been  to  Alex- 
andria to  protest  against  Grecian  luxury  and  corruption, 
returns  disheartened  by  his  task,  having  found  that  city  given 
over  to  the  influences  of  Thais,  a  courtesan  of  great  beauty. 
After  their  separation  for  the  night  Athanael  dreams  of 
Thais  appearing  before  the  people  as  Venus.  The  next  scene 
is  laid  at  the  house  of  Nicias  in  Alexandria,  whither  Athanael 
has  gone  to  resume  his  exhortations.  Nicias  greets  him,  and 
Athanael  questions  him  as  to  Thais.  He  confesses  he  has 
been  ruined  by  her  and  laughs  at  Athanael's  determina- 
tion to  reclaim  her.  To  afford  him  the  opportunity  Ni- 
cias gives  a  supper  for  her  at  which  Athanael,  handsomely 
arrayed,  is  present.  He  attracts  the  admiration  of  Thais, 
and  while  he  is  bent  upon  his  purpose  she  seeks  to  allure 
him  with  her  charms.  Athanael  denounces  her  and  flees 
from  the  house  when  she  once  more  prepares  to  pose  as 
Venus. 

The  second  act  opens  in  the  house  of  Thais.  While  she 
is  regarding  her  charms  in  the  mirror,  Athanael  appears  at 
the  door,  prays  for  her,  and  tells  her  he  loves  her  with  his 
spirit.  As  she  listens  to  him  she  places  incense  in  a  burner 
and  invokes  Venus.  Athanael  commands  her  to  follow  him, 
but  hears  the  distant  voice  of  Nicias  calling  her.  She  hesi- 
tates, and  Athanael  says  he  will  wait  until  the  dawn.  Nicias 
and  his  friends  appear,  and  revelry  begins.     As  it  proceeds 


Gustave  Huberdeau  as  Palevion 

CopyrigM,  Matzene 


MASSENET  167 

Athanael  fires  the  house  and  Thais,  clad  in  a  woollen  gar- 
ment, follows  him  away  amid  the  execrations  of  Nicias' 
followers. 

The  opening  scene  of  the  third  act  is  laid  at  an  oasis, 
where  Thais  and  Athanael  appear,  overcome  with  fatigue. 
Athanael  consoles  her,  then  leads  her  to  a  convent  and  leaves 
her  in  charge  of  the  abbess,  after  she  has  bidden  him  a  last 
farewell.  In  the  next  scene  a  storm  arises  and  Athanael 
appears  among  the  monks  in  a  dejected  condition.  He  con- 
fesses that  since  he  has  reclaimed  Thais  he  has  been  haunted 
by  impure  dreams.  A  vision  of  Thais  comes  before  him, 
whereupon  he  rushes  out  into  the  storm. 

The  last  act  shows  the  gardens  of  the  monastery.  Thais 
lies  dying  with  the  nuns  by  her  side,  when  Athanael  enters 
inquiring  for  her.  The  nuns  lead  him  to  her  and  he  kneels 
by  her  side  as  she  tells  him  of  her  conversion.  Athanael, 
however,  still  under  the  influence  of  his  love  for  her,  tries 
to  divert  her  mind  to  earthly  things,  but  Thais  points  to  the 
sky  where  angels  are  awaiting  her.  As  she  dies  Athanael 
falls  to  the  earth  with  a  cry  of  despair. 

The  music  of  "  Thais  "  is  brilliant,  impassioned,  dramatic 
throughout,  especially  the  instrumental  part,  as  in  the  medi- 
ation music  of  the  second  act  and  the  Oriental  music  which 
accompanies  the  scenes  in  Alexandria.  Among  the  most  strik- 
ing vocal  numbers  are  Athanael's  solo,  as  he  awakes  from 
his  dream  of  Thais ;  her  love  song  and  incantation  and  the 
dance  music  of  the  second  act;  the  exquisite  duet  for  Thais 
and  Athanael  as  he  brings  her  water  in  the  desert;  and  the 
celestial  song  of  Thais,  "  Heaven  opens  its  Gates,"  in  the 
finale  of  the  last  act. 


Le  Jongleur  de  Notre  Dame 

"  Le  Jongleur  de  Notre  Dame  "  ("  Our  Lady's  Juggler  "), 
entitled  a  miracle  play,  was  first  produced  at  Monte  Carlo 
in  1892,  in  Paris  in  1904,  and  in  this  country  in  1908.  It 
is    arranged    in    three    acts    and    is    based   upon    a   mediaeval 


168  THE    STANDARD    OPERAS 

legend;,  as  told  in  Anatole  France's  "  Etui  de  Nacre,"  the 
libretto  by  Maurice  Lena. 

The  story  is  mainly  concerned  with  Jean,  a  strolling  men- 
dicant juggler.  In  the  first  act  he  appears  outside  the  gates 
of  the  monastery  of  Cluny  seeking  a  meal  by  exhibiting  his 
tricks  to  the  people  on  market  day.  As  he  is  singing  a 
drinking-song  the  prior  passes  and  censures  him,  at  the  same 
time  soliciting  him  to  enter  the  monastery  and  become  a  monk. 
Moved  by  the  prior's  admonitions  and  at  the  same  time  by 
the  appearance  of  the  monastery  cook  and  his  donkey  laden 
with  provisions,  he  enters. 

The  second  act  opens  upon  preparations  in  the  monastery 
for  the  celebration  of  the  Feast  of  the  Assumption.  Jean 
beholds  the  artists  among  the  monks  preparing  an  image  of 
the  Virgin  and  realizes  that  he  alone  of  all  his  companions 
is  doing  nothing  in  her  honor.  After  they  leave  he  finds 
himself  alone  with  Boniface,  the  cook,  to  whom  he  confides 
his  anxiety  to  do  something.  Boniface  relieves  him  with  the 
assurance  that  anything  he  does  will  be  pleasing  to  the  Virgin. 

The  third  act  reveals  Jean  in  the  chapel  at  night  practising 
his  songs  and  dances  before  the  new  image  of  the  Virgin. 
The  Prior  and  the  monks  suddenly  enter  and  are  scandalized 
at  his  antics.  They  are  about  to  seize  him  and  drag  him 
from  the  chapel  when  suddenly  the  image  is  illuminated 
with  a  bright  glow  and  the  Virgin  stretches  her  hands  above 
him  with  a  smile.  The  monks  are  overcome  by  the  miracle 
and  Jean  sinks  to  the  floor  and  expires  while  celestial  voices 
are  heard  commending  him. 

The  subject  is  one  which  is  admirably  adapted  to  Mas- 
senet's style.  He  has  invested  it  with  a  mediaeval  atmosphere 
and  has  added  to  the  mystic  feeling  by  the  use  of  the  Gregorian 
Chant  and  the  old  folk-song.  There  is  no  passionate  fervor 
nor  dramatic  outburst.  The  music  flows  along  quietly,  simply, 
and  melodiously,  and  preserves  the  mystic  character  of  the 
story  it  illustrates.  Its  most  effective  numbers  are  the  prelude 
to  the  first  act,  the  wine  song  by  Jean  ("  Alleluia  du  Vin  "), 
Boniface's  melody,  which  is  jovially  ecclesiastic,  as  he  appears 
with  his  donkey,  the  prelude  to  the  second  act,  Boniface's 


MASSENET  169 

song  in  which  he  tells  the  story  of  the  Sage  Brush,  Jean's 
songs  before  the  Virgin  and  his  address  to  her,  and  the  climax 
of  the  miracle  at  the  close  with  the  celestial  chorus. 


Don  Quixote 

"  Don  Quixote,"  the  last  opera  from  the  fertile  pen  of  the 
veteran  Massenet,  was  performed  for  the  first  time  at  Monte 
Carlo  in  January,  1910.  The  librettist  is  Henri  Cain,  who 
has  drawn  his  situations  more  liberally  from  a  play  by  Lc 
Lorrain,  a  French  poet,  than  from  Cervantes'  romance. 
Don  Quixote  is  represented  as  a  pattern  of  kindness  and 
magnanimity  instead  of  the  fantastic,  serio-comic  knight,  and 
Dulcinea  in  place  of  a  rustic  appears  as  a  gay  courtesan.  Don 
Sancho  alone  retains  his  original  qualities.  The  opera  is  in 
five  short  acts,  played  in  the  German  version  however  in  three. 

The  first  act  reveals  a  public  square  before  the  house  of 
Dulcinea,  whose  praises  a  crowd  of  her  admirers  are  extol- 
ling. Don  Quixote  and  Sancho  arrive  and  are  greeted  with 
shouts  of  derision  at  their  ludicrous  appearance.  The  Knight 
serenades  her,  but  is  interrupted  by  the  jealous  Juan  and  a 
duel  is  prevented  by  Dulcinea,  who  tells  the  Knight  she  will 
consider  his  suit  if  he  will  recover  a  necklace  which  has  been 
stolen  from  her. 

In  the  second  act  the  two  heroes,  mounted  on  Rosinante 
and  the  donkey,  set  about  their  quest,  but  the  scene  is  mainly 
occupied  with  the  Don's  Avindmill  and  other  adventures.  In 
the  third  act  they  encounter  the  brigands.  Sancho  flees,  but 
the  Don  makes  a  stout  resistance  only  to  be  taken  prisoner 
and  sentenced  to  death.  He  solaces  himself  by  repeating  the 
name  of  Dulcinea,  and  the  bandits  are  so  overcome  by  his 
patience  and  courage  that  they  not  only  give  him  the  neck- 
lace but  implore  his  benediction. 

The  fourth  act  opens  with  a  fete  at  Dulcinea's  house,  dur- 
ing which,  much  to  the  astonishment  of  all,  the  Knight  and 
Sancho  enter  bringing  the  necklace.  Dulcinea  embraces  him 
in  her  delight  and  he  asks  her  to  marry  him  on  the  spot.     She 


170  THE    STANDARD    OPERAS 

only  laughs  at  him  and  confesses  that  she  is  not  a  pure 
woman.  The  guests  add  to  his  depression  by  laughing  at 
him.  In  the  last  act  we  find  the  forlorn,  heart-broken  Knight 
in  the  forest  with  Sancho  and  witness  his  death. 

The  principal  numbers  in  the  first  act  are  the  Knight's 
serenade,  which  serves  as  a  motive  throughout  the  opera,  and 
the  music  accompanying  his  lonely  vigil  in  the  moonlight 
before  Dulcinea's  house;  in  the  second,  the  monologue  for 
Sancho;  in  the  third,  the  Knight's  prayer  and  the  orchestral 
accompaniment  to  the  windmill  fight;  in  the  fourth,  the  duet 
in  which  Dulcinea  acloiowledges  her  true  character,  Sancho's 
defence  of  his  master,  and  a  'cello  solo  recalling  the  "  Medi- 
tation "  in  "  Thais  ";  and  in  the  fifth,  the  death  scene  accom- 
paniment. The  music  runs  mostly  in  melodious  declamation, 
interspersed  with  short  arias  and  accompanied  by  instrumen- 
tation of  a  fine  delineative  character  and  vivid  coloring. 


MEYERBEER    (GIACOMO) 

The  Huguenots 

LES  Huguenots/'  grand  opera  in  five  acts,  words  by 
Scribe  and  Deschamps,  was  first  produced  at  the  Acade- 
mic, Paris,  February  29,  1836,  with  the  following  cast  of  the 
principal  parts : 

Valentin Mile.  Falcon. 

Marguerite  de  Valois Mme.  Dorus-Ghas. 

Urbain Mile.  FL^iCHEUX. 

Count  de  St.  Bris M.  Lerda. 

Count  de  Nevers M.  Derivis. 

Raoul  de  Nangis M.  Nourrit. 

Marcel M.  Levasseub. 

As  its  first  production  in  London  in  Italian,  as  "  Gli 
Ugonotti,"  July  20,  1848,  the  cast  was  even  more  remarkable 
than  that  above.  Meyerbeer  especially  adapted  the  opera  for 
the  performance,  transposed  the  part  of  the  page,  which  was 
written  for  a  soprano,  and  expressly  composed  a  cavatina  to 
be  sung  by  Mme.  Alboni,  in  the  scene  of  the  chateau  and 
gardens  of  Chenonceaux,  forming  the  second  act  of  the  original 
work,  but  now  given  as  the  second  scene  of  the  first  act  in 
the  Italian  version.     The  cast  was  as  follows: 

Valentin Mme.  PAmJNE  Viaedot. 

Marguerite  de  Valois Mme.  Castelx,an. 

Urbain Mile.  Alboni. 

Count  de  St.  Bris Sig.  Tamburint. 

Count  de  Nevers Sig.  Taguafico. 

Raoul  de  Nangis Sig.  Mario. 

Marcel Sig.  Marini. 

The  action  of  the  opera  passes  in  1572,  the  first  and  second 
acts  in  Touraine,  and  the  remainder  in  Paris.     The  first  act 


172  THE    STANDARD    OPERAS 

opens  on  a  scene  of  revelry  in  the  salon  of  Count  de  Nevers, 
where  a  number  of  noblemen,  among  them  Raoul  de  Nangis, 
a  Protestant,  accompanied  by  his  faithful  old  Huguenot  ser- 
vant, Marcel,  are  present,  telling  stories  of  their  exploits 
in  love.  Marguerite  de  Valois,  the  betrothed  of  Henry  IV, 
for  the  sake  of  reconciling  the  dispute  between  the  two  reli- 
gious sects,  sends  her  page  to  De  Nevers's  salon  and  invites 
Raoul  to  her  chateau.  When  he  arrives.  Marguerite  informs 
him  of  her  purpose  to  give  him  in  marriage  to  a  Catholic 
lady,  daughter  of  the  Count  de  St.  Bris.  Raoul  at  first  con- 
sents ;  but  when  Valentin  is  introduced  to  him  and  he  dis- 
covers her  to  be  a  lady  whom  he  had  once  rescued  from  insult 
and  who  had  visited  De  Nevers  in  his  salon,  he  rejects  the 
proposition,  believing  that  her  affections  have  been  bestowed 
upon  another,  and  that  his  enemies  are  seeking  to  entrap 
him.  St.  Bris  challenges  Raoul  for  the  affront,  but  the  Queen 
disarms  the  angry  combatants.  Valentin  is  now  urged  to 
marry  Count  de  Nevers,  and  begs  that  she  may  pass  the  day 
in  prayer  in  the  chapel.  Meanwhile  Count  de  St.  Bris,  who 
has  been  challenged  by  Raoul,  forms  a  plot  for  his  assassina- 
tion, which  is  overheard  by  Valentin  from  within  the  chapel. 
She  communicates  the  plot  to  Marcel,  who  lies  in  wait  with  a 
party  of  Huguenots  in  the  vicinity  of  the  duel,  and  comes  to 
Raoul's  rescue  when  danger  threatens  him.  A  general  combat 
is  about  to  ensue,  but  it  is  suppressed  by  Marguerite,  who  sud- 
denly appears  upon  the  scene.  Raoul  thus  discovers  that  he 
owes  his  life  to  Valentin,  and  that  her  visit  to  De  Nevers  was 
to  induce  him  to  sever  the  relations  between  them,  as  she  was 
in  love  with  Raoul.  The  announcement  comes  too  late,  for 
the  marriage  festivities  have  already  begun.  Raoul  visits  her 
for  the  last  time.  Their  interview  is  disturbed  by  the  ap- 
proach of  De  Nevers,  St.  Bris,  and  other  Catholic  noblemen, 
who  meet  to  arrange  the  details  of  the  plot  conceived  by 
Catherine  de  Medicis  for  the  slaughter  of  the  Huguenots  on 
Saint  Bartholomew's  Eve.  Valentin  hurriedly  conceals  Raoul 
behind  the  tapestries,  where  he  overhears  their  plans  and  wit- 
nesses the  conjuration  and  the  blessing  of  the  swords,  as  well 
as  the  refusal  of  the  chivalrous  De  Nevers  to  engage  in  mur- 


Nilsson  as    Valeniin 


MEYERBEER  173 

der.  After  the  conspirators  have  departed,  Raoul  and  Valentin 
have  a  long  and  affecting  interview,  in  which  he  hesitates 
between  love  and  honor,  Valentin  striving  to  detain  him  lest 
he  may  be  included  in  the  general  massacre.  Honor  at  last 
prevails,  and  he  joins  his  friends  just  before  the  work  of 
slaughter  begins.  He  rushes  to  the  festivities  which  are  about 
to  be  given  in  honor  of  the  marriage  of  Marguerite  with  the 
King  of  Navarre,  and  warns  the  Huguenots  of  their  danger. 
He  then  makes  his  way  to  a  chapel  where  many  of  them  are 
gathered  for  refuge.  He  finds  Marcel,  who  has  been  wounded, 
and  who  brings  him  the  tidings  of  the  death  of  De  Nevers. 
The  faithful  Valentin  joins  them  to  share  their  fate.  Amid 
the  horrors  of  the  massacre  Marcel  blesses  and  unites  them. 
They  enter  the  church  and  all  perish  together. 

The  first  act  opens  with  the  brilliant  chorus  of  the  revellers 
("  Piacer  della  Mensa  "),  which  is  full  of  courtly  grace.  Raoul 
tells  the  story  of  the  unknown  fair  one  he  has  encountered, 
in  the  romanza,  "  Piu  bianca  del  velo."  When  Marcel  is 
called  upon,  he  hurriedly  chants  the  hymn,  "  O  tu  che  ognor," 
set  to  the  Martin  Luther  air,  "  Ein  feste  Burg,"  and  height- 
ened by  a  stirring  accompaniment,  and  then  bursts  out  into 
a  graphic  song  ("  Finita  e  pe'  Frati  "),  emphasized  with  the 
piff-paff  of  bullets  and  full  of  martial  fervor.  In  delightful 
contrast  with  the  fierce  Huguenot  song  comes  the  lively  and 
graceful  romanza  of  Urbain  ("  Nobil  Donna  e  tanto  onesta  "), 
followed  by  a  delightful  septet.  The  scene  now  changes, 
and  with  it  the  music.  We  are  in  the  Queen's  gardens  at 
Chenonceaux.  Every  number,  the  Queen's  solo  ("A  questa 
Voce  sola  "),  the  delicate  "  Bathers'  Chorus,"  as  it  is  called 
("Audiam,  Regina,  in  questo  amene  sponde  "),  the  brilliant 
and  graceful  allegretto  sung  by  Urbain  ("  No,  no,  no,  no"), 
the  duet  between  the  Queen  and  Raoul,  based  upon  one  of  the 
most  flowing  of  melodies,  and  the  spirited  and  effective  finale 
in  which  the  nobles  take  the  oath  of  allegiance  ("  Per  la  fe, 
per  r  Onore  "),  —  each  and  every  one  of  these  is  colored  with 
masterly  skill,  while  all  are  invested  with  chivalrous  refine- 
ment and  stately  grace. 

The  second  act  opens  with  a  beautiful  choral  embroidery 


174.  THE    STANDARD    OPERAS 

in  which  different  choruses,  most  striking  in  contrast,  are 
skilfully  interwoven.  It  is  a  picture,  in  music,  of  the  old 
Paris.  The  citizens  rejoice  over  their  day's  work  done.  The 
Huguenots  shout  their  lusty  rataplan,  while  the  Papist  maidens 
sing  their  solemn  litany  ("  Ave  Maria  ")  on  their  way  to 
chapel;  and  as  they  disappear,  the  quaint  tones  of  the  cur- 
few chant  are  heard,  and  night  and  rest  settle  down  upon  the 
city.  It  is  a  striking  introduction  to  what  follows,  —  the 
exquisite  duet  between  Marcel  and  Valentin,  the  great  septet 
of  the  duel  scene,  beginning  ("  De  dritti  miei  ho  1'  alma 
accesa  ")  with  the  tremendous  double  chorus  which  follows 
as  the  two  bands  rush  upon  the  scene.  As  if  for  relief  from 
the  storm  of  this  scene,  the  act  closes  with  brilliant  pageantry 
music  as  De  Nevers  approaches  to  escort  Valentin  to  her 
bridal. 

The  third  act  is  the  climax  of  the  work.  After  a  dark  and 
despairing  aria  by  Valentin  ("  Eccomi  sola  ormai  "),  and  a 
brief  duet  with  Raoul,  the  conspirators  enter.  The  great  trio, 
closing  with  the  conjuration,  "  Quel  Dio,"  the  awful  and 
stately  chant  of  the  monks  in  the  blessing  of  the  unsheathed 
daggers  ("  Sia  Gloria  eterna  e  Onore  "),  and  the  thrilling 
unisons  of  the  chorus  "  D' un  sacro  zel  1' Adore"),  which 
fairly  glow  with  energy,  fierceness,  and  religious  fury,  — 
these  numbers  of  themselves  might  have  made  an  act;  but 
Meyerbeer  does  not  pause  here.  He  closes  with  a  duet  be- 
tween Raoul  and  Valentin  which  does  not  suffer  in  comparison 
with  the  tremendous  combinations  preceding  it.  It  is  filled 
with  the  alternations  of  despair  and  love,  of  grief  and  ecstasy. 
In  the  Italian  version  the  performance  usually  closes  at  this 
point;  but  there  is  still  another  striking  and  powerful  scene, 
that  in  which  Raoul  and  Valentin  are  united  by  the  dying 
Marcel.  Then  the  three  join  in  a  sublime  trio,  and  for  the 
last  time  chant  together  the  old  Lutheran  hymn,  and  await 
their  fate  amid  the  triumphant  harpings  that  sound  from  the 
orchestra  and  the  hosannas  they  sing  to  its  accompaniment. 


MEYERBEER  175 

The  Star  of  the  North 

"  L'fitoile  du  Nord,"  opera  in  three  acts,  words  by  Scribe, 
was  first  performed  at  the  Opera  Comique,  Paris.  February 
16,  1854,  and  in  Italian  as  "La  Stella  del  Nord,"  at  Covent 
Garden,  London,  July  19,  1855.  In  English  it  has  been  pro- 
duced under  the  title  of  "  The  Star  of  the  North."  The  opera 
contains  several  numbers  from  the  composer's  earlier  work, 
"  Feldlager  in  Schlesien,"  which  was  written  for  the  opening 
of  the  Berlin  opera  house,  in  memory  of  Frederick  the  Great, 
and  was  subsequently  (February  17,  1817)  performed  with 
great  success  in  Vienna,  Jenny  Lind  taking  the  role  of  Vielka. 
The  "  Feldlager,"  however,  has  never  been  given  out  of 
Germany. 

The  action  of  the  opera  transpires  in  Wyborg,  on  the  Gulf 
of  Finland,  in  the  first  act,  at  a  camp  of  the  Russians  in 
the  second,  and  at  the  palace  of  the  Czar  Peter  in  the  third. 
In  the  first,  Peter,  who  is  working  at  Wyborg,  disguised  as 
a  carpenter,  makes  the  acquaintance  of  Danilowitz,  a  pastry 
cook,  and  Catharine,  a  cantiniere,  whose  brother  George  is 
about  to  marry  Prascovia.  Catharine  brings  about  this  mar- 
riage; and  not  only  that,  but  saves  the  little  village  from  an 
invasion  by  a  strolling  horde  of  Tartars,  upon  whose  super- 
stition she  practises  successfully,  and  so  conducts  herself  in 
general  that  Peter  falls  in  love  with  her,  and  they  are  be- 
trothed, though  she  is  not  aware  of  the  true  identity  of  her 
suitor.  Meanwhile  the  conscription  takes  place,  and  to  save 
her  newly  wedded  brother  she  volunteers  for  fifteen  days  in 
his  place,  disguising  herself  as  a  soldier.  In  the  next  act  we 
find  Catharine  going  her  rounds  as  a  sentinel  in  the  Russian 
camp  on  the  Finnish  frontier.  Peter  and  Danilowitz  are  also 
there,  and  are  having  a  roistering  time  in  their  tent,  drinking 
and  making  love  to  a  couple  of  girls.  Hearing  Peter's  voice 
she  recognizes  it,  and  curiosity  leads  her  to  peep  into  the  tent. 
She  is  shocked  at  what  she  beholds,  neglects  her  duty,  and  is 
found  by  the  corporal  in  this  insubordinate  condition.  He 
remonstrates  with  her,  and  she  answers  with  a  slap  on  his 
ears,   for  which   she   incurs  the   penalties   of  disobedience  ij 


176  THE    STANDARD    OPERAS 

orders  as  well  as  insulting  behavior  to  her  superior  officer. 
Peter  at  last  is  roused  from  his  drunkenness  by  the  news  of 
an  insurrection  among  his  own  soldiers  and  the  approach  of 
the  enemy.  He  rushes  out  and  promises  to  give  the  Czar 
into  their  hands  if  they  will  obey  and  follow  him.  At  last, 
struck  with  his  bearing  and  authority,  they  demand  to  know 
who  he  is,  whereupon  he  declares  himself  the  Czar.  The 
mutiny  is  at  once  quelled.  They  submit,  and  offer  their  lives 
as  warrant  for  their  loyalty.  The  last  act  opens  in  the  Czar's 
palace,  where  his  old  companion,  Danilowitz,  has  been  in- 
stalled in  high  favor.  Catharine,  however,  has  disappeared. 
George  and  Prascovia  arrive  from  Finland,  but  they  know 
nothing  of  her.  The  faithful  Danilowitz  finds  her,  but  she 
has  lost  her  reason.  Her  friends  try  to  restore  it  by  sur- 
rounding her  with  recollections  of  home,  and  Peter  at  last 
succeeds  by  playing  upon  his  flute  the  airs  he  used  to  play  to 
her  in  Finland.  Her  senses  come  back,  and  thus  all  ends 
happily;  for  Catharine  and  Peter  are  at  last  united  amid  the 
acclamations  of  the  people. 

In  the  first  act  the  character  of  Peter  is  well  expressed  in 
the  surly,  growling  bass  of  his  soliloquy  ("  Vedra,  vedx*a  "). 
It  is  followed  by  a  characteristic  drinking-chorus  ("  Alia 
Finlanda,  beviam  "),  a  wild,  barbaric  minor  rhythm,  which 
passes  into  a  prayer  as  they  invoke  the  protection  of  Heaven 
upon  Charles  XII.  In  the  eighth  scene  occur  the  couplets 
of  Gritzensko  as  he  sings  the  wild  song  of  the  Kalmucks.  In 
charming  contrast,  in  the  next  scene,  Catharine  sings  the 
gypsy  rondo,  which  Jenny  Lind  made  so  famous  ("  Wlastla 
la  santa  "),  which  is  characterized  by  graceful  coquetry;  and 
this  in  turn  is  followed  by  a  striking  duet  between  Catharine 
and  Peter,  in  which  the  individual  characteristics  of  the  two 
are  brought  out  in  genuine  Wagnerian  style.  In  the  thirteenth 
scene  occurs  the  bridal  song  of  Prascovia  ("Al  Suono  dell' 
ora  "),  with  choral  accompaniment,  of  a  delicate  and  coquettish 
cast,  leading  up  to  the  finale,  beginning  with  the  soldiers' 
chorus  ("  Onor  che  a  Gloria  "),  with  an  accompaniment  of 
drums  and  fifes,  again  passing  to  a  pathetic  prayer  ("  Veglia 
dal  Ciel  su  lor  ")  sung  by  Catharine  amid  the  ringing  of  bells 


MEYERBEER  177 

as  the  bridal  wreath  is  placed  upon  Prascovia's  head,  and 
closing  with  a  florid  barcarole  ("  Vascel  che  lasci  ")  as  she 
sails  away. 

The  second  act  opens  with  ballet  music,  full  of  Eastern 
color,  and  then  ensues  one  of  those  choral  combinations,  like 
that  in  the  second  act  of  "  The  Huguenots,"  in  which  Meyer- 
beer so  much  delighted,  —  a  cavalry  chorus  ("Bel  Cavalier 
del  Cuor  d'  acciar  "),  followed  by  the  Grenadier's  song,  accom- 
panied by  chorus  ("  Granadier  di  Russia  esperti  "),  the  chorus 
taking  up  the  "  tr-r-r-um  "  refrain  in  imitation  of  the  drum. 
In  the  eighth  scene  we  have  the  orgy  in  the  tent  in  the  form 
of  a  very  spirited  dramatic  trio,  in  which  Peter  sings  a  blithe 
drinking-song  ("Vedi  al  par  del  Rubino  ")  ;  this  in  turn  re- 
solving into  a  quintet  ("  Vezzose  Vivandiere  "),  and  again  into 
a  sextet,  as  Ismailoff  enters  with  a  letter  for  the  Czar.  The 
finale  is  a  superb  military  picture,  made  up  of  the  imposing 
oath  of  death  to  the  tyrant,  the  stirring  Dessauer  march,  the 
cavalry  fanfare,  and  the  Grenadiers'  march,  interwoven  with 
the  chorus  of  women  as  they  cheer  on  the  marching  soldiers. 

The  third  act  opens  with  a  romanza  ("  Dal  Cor  per  iscac- 
ciare"),  in  which  the  rugged  Czar  shows  us  the  sentimental 
side  of  his  character.  In  the  third  scene  occurs  a  long  buffo 
trio  between  Peter,  Gritzensko,  and  Danilowitz,  which  is  full 
of  humor.  In  the  finale  we  have  Catharine  in  the  mad  scene, 
singing  the  scena,  "  L'  Aurora  alfin  succede,"  with  bits  of  the 
old  music  running  through  the  accompaniment;  and  in  the 
final  scene,  as  her  reason  returns,  breaking  out  in  the  florid 
bravura,  "  Non  s'  ode  alcun,"  accompanied  by  the  first  and 
second  flutes.  This  number  was  taken  from  "  The  Camp  in 
Silesia,"  and  was  given  by  Jenny  Lind  with  immense  success, 
not  only  in  the  latter  work,  but  upon  the  concert  stage.  The 
opera  as  a  whole  abounds  in  humor,  its  music  is  fresh  and 
brilliant,  and  its  military  character  makes  it  especially 
attractive. 


178  THE    STANDARD    OPERAS 

Robert  the  Devil 

"  Robert  le  Diable/'  grand  opera  in  five  acts,  words  by- 
Scribe  and  Delavigne,  was  first  produced  at  the  Academic, 
Paris,  November  21,  1831,  with  the  following  cast: 

Alice Mile.  Dorus. 

Isabella Mme.  Cinti-Damobeau. 

The  Abbess Signora  Taglioni. 

Robert M.  Nocirrit. 

Bertram M.  Levasseur. 

Raimbaut M.  Lafont. 

In  the  following  year  two  versions  in  English,  both  of  them 
imperfect,  were  brought  out  by  the  rival  theatres,  Covent 
Garden  and  Drury  Lane.  On  the  20th  of  February  it  ap- 
peared at  Drury  Lane  under  the  title  of  "  The  Demon;  or, 
the  Mystic  Branch,"  and  at  Covent  Garden  the  next  evening 
as  "  The  Fiend  Father,  or  Robert  Normandy."  Drury  Lane 
had  twenty-four  hours  the  start  of  its  rival,  but  in  neither 
case  were  the  representations  anything  but  poor  imitations  of 
the  original.  On  the  11th  of  the  following  June  the  French 
version  was  produced  at  the  King's  Theatre,  London,  with  the 
same  cast  as  in  Paris,  except  that  the  part  of  Alice  was  taken 
by  Mme.  De  Meric,  and  that  of  the  Abbess  by  the  danseuse 
Mile.  Heberle.  On  the  4th  of  May,  1847,  the  first  Italian 
version  was  produced  at  Her  Majesty's  Theatre,  with  Jenny 
Lind  and  Staudigl  in  the  cast.  Gruneisen,  the  author  of  a 
brief  memoir  of  Meyerbeer,  who  was  present,  says:  "The 
night  was  rendered  memorable,  not  only  by  the  massacre  at- 
tending the  general  execution,  but  also  by  the  debut  of  Mile. 
Lind  in  this  country,  who  appeared  as  Alice.  With  the  excep- 
tion of  the  debutante,  such  a  disgraceful  exhibition  was  never 
before  witnessed  on  the  operatic  stage.  Mendelssohn  was 
sitting  in  the  stalls,  and  at  the  end  of  the  third  act,  unable 
to  bear  any  longer  the  executive  infliction,  he  left  the  theatre." 

The  libretto  of  "  Robert  the  Devil  "  is  absurd  in  its  con- 
ceptions and  sensational  in  its  treatment  of  the  story,  not- 
withstanding that  it  came  from  such  famous  dramatists  as 
Scribe   and   Delavigne;    and  it  would   have  been  still  worse 


MEYERBEER  179 

had  it  not  been  for  Meyerbeer.  Scribe,  it  is  said,  wished  to 
introduce  a  bevy  of  sea-nymphs,  carrying  golden  oars,  as  the 
tempters  of  Robert;  but  the  composer  would  not  have  them, 
and  insisted  upon  the  famous  scene  of  the  nuns,  as  it  now 
stands,  though  these  were  afterwards  made  the  butt  of  almost 
endless  ridicule.  Mendelssohn  himself,  who  was  in  Paris  at 
this  time,  writes:  "  I  cannot  imagine  how  any  music  could  be 
composed  on  such  a  cold,  formal  extravaganza  as  this."  The 
story  runs  as  follows:  The  scene  is  laid  in  Sicily,  Avhere 
Robert,  Duke  of  Normandy,  who  by  his  daring  and  gallantries 
had  earned  the  sobriquet  of  "  the  Devil,"  banished  by  his  own 
subjects,  has  arrived  to  attend  a  tournament  given  by  the 
Duke  of  Messina.  In  the  opening  scene,  Avhile  he  is  carousing 
with  his  knights,  the  minstrel  Raimbaut  sings  a  song  descrip- 
tive of  the  misdeeds  of  Robert.  The  latter  is  about  to  re- 
venge himself  on  the  minstrel,  when  Alice,  his  foster-sister 
and  the  betrothed  of  Raimbaut,  appears  and  pleads  with  him 
to  give  up  his  wicked  courses,  and  resist  the  spirit  of  evil 
which  is  striving  to  get  the  mastery  of  him.  Robert  then 
confides  to  Alice  his  hopeless  passion  for  Isabella,  daughter 
of  the  Duke.  While  they  are  conversing,  Bertram,  "  the  un- 
known," enters,  and  Alice  shrinks  back  affrighted,  fancying 
she  sees  in  him  the  evil  spirit  who  is  luring  Robert  on  to 
ruin.  After  she  leaves,  Bertram  entices  him  to  the  gaming- 
table, from  which  he  rises  a  beggar,  —  and  worse  than  this, 
he  still  further  prejudices  his  cause  with  Isabella  by  failing 
to  attend  the  tournament,  thus  forfeiting  his  knightly  honor. 

The  second  act  opens  upon  an  orgy  of  the  evil  spirits  in 
the  cavern  of  St.  Irene.  Bertram  is  present,  and  makes  a 
compact  with  them  to  loose  Robert  from  his  influence  if  he 
does  not  yield  to  his  desires  at  once.  Alice,  who  has  an 
appointment  with  the  minstrel  in  the  cavern,  overhears  the 
compact,  and  determines  to  save  him.  Robert  soon  appears, 
mourning  over  his  losses  and  dishonor;  but  Bertram  promises 
to  restore  everything  if  he  will  visit  the  ruined  Abbey  of 
St.  Rosalie,  and  carry  away  a  mystic  branch  which  has  the 
power  of  conferring  wealth,  happiness,  and  immortality.  He 
consents;    and  in  the  next  scene  Bertram  pronounces  the  in- 


180  THE    STANDARD    OPERAS 

cantation  which  calls  up  the  buried  nuns.  Dazed  with  their 
ghostly  fascinations^  Robert  seizes  the  branch  and  flees.  His 
first  use  of  it  is  to  enter  the  apartments  of  Isabella,  unseen 
by  her  or  her  attendants,  all  of  whom  become  immovable  in 
the  presence  of  the  mystic  talisman.  He  declares  his  inten- 
tion of  carrying  her  away;  but  moved  by  her  entreaties  he 
breaks  the  branch,  which  destroys  the  charm.  In  the  last 
act  Bertram  is  at  his  side  again,  trying  to  induce  him  to  sign 
the  fatal  compact.  The  strains  of  sacred  music  which'  he  hears, 
and  the  recollections  of  his  mother,  restrain  him.  In  despera- 
tion Bertram  announces  himself  as  his  fiend-father.  He  is 
about  to  yield,  when  Alice  appears  and  reads  to  him  his 
mother's  warning  against  the  fiend's  temptation.  As  he  still 
hesitates,  the  clock  strikes,  and  the  spell  is  over.  Bertram 
disappears,  and  the  scene  changes  to  the  cathedral,  where 
Isabella  in  her  wedding  robes  awaits  the  rescued  Robert. 

From  the  musical  point  of  view  "  Robert  le  Diable  "  is 
interesting,  as  it  marks  the  beginning  of  a  new  school  of 
grand  opera.  With  this  work,  Meyerbeer  abandoned  the  school 
of  Rossini  and  took  an  independent  course.  He  cut  loose 
from  the  conventional  classic  forms  and  gave  the  world  dra- 
matic music,  melodies  of  extraordinary  dramatic  force,  bril- 
liant orchestration,  stately  pageants,  and  theatrical  effects. 
"  Robert  le  Diable  "  was  the  first  of  the  subsequent  great 
works  from  his  pen  which  still  further  emphasized  his  new 
and  independent  departure.  It  is  only  necessary  to  call  at- 
tention to  a  few  prominent  numbers,  for  this  opera  has  not 
as  many  instances  of  these  characteristics  as  those  which 
followed  and  which  are  elsewhere  described.  The  first  act 
contains  the  opening  bacchanalian  chorus  ("  Versiamo  a  Tazza 
plena"),  which  is  very  brilliant  in  character;  the  minstrel's 
song  in  the  same  scene  ("  Regnava  un  tempo  in  Normandia  "), 
with  choral  accompaniment;  and  a  very  tender  aria  for  Alice 
("Vanne,  disse,  al  Figlio  mio"),  in  which  she  delivers  his 
mother's  message  to  Robert.  The  second  act  opens  with  a 
spirited  duet  between  Bertram  and  Raimbaut,  leading  up  to 
a  powerful  and  characteristic  chorus  of  the  evil  spirits 
("  Demoni   fatali  ").     An  aria  for  Alice   ("  Nel  las  ciar  la 


MEYERBEER  181 

Normandia  "),  a  duet  between  Bertram  and  Alice  ("  Trionfo 
bramato  "),  and  an  intensely  dramatic  trio  between  Bertram^ 
Alice,  and  Robert  ("  Lo  sguardo  immobile  "),  prepare  the 
way  for  the  great  scena  of  the  nuns,  known  as  "  La  Tempta- 
tion/' in  which  Meyerbeer  illustrates  the  fantastic  and  often- 
times ludicrous  scene  with  music  which  is  the  very  essence 
of  diabolism,  and  in  its  way  as  unique  as  the  incantation  music 
in  "  Der  Freischutz."  The  third  act  contains  two  great  arias. 
The  first  ("  Invano  il  fato  "),  sung  at  the  opening  of  the  act 
by  Isabella,  and  the  second  the  well-known  aria  "  Roberto, 
o  tu  che  adoro,"  better  known  by  the  French  words  ("  Robert! 
toi  que  j'aime  ").  The  closing  act  is  specially  remarkable 
for  the  great  terzetto  in  its  finale,  which  is  one  of  the  most 
effective  numbers  Meyerbeer  has  written.  The  judgment  of 
Hanslick,  the  well-known  Viennese  critic,  upon  this  work  is 
interesting  in  this  connection.  He  compares  it  with  "  William 
Tell  "  and  "  Masaniello,"  and  finds  that  in  musical  richness 
and  blended  effects  it  is  superior  to  either,  but  that  a  single 
act  of  either  of  the  works  mentioned  contains  more  artistic 
truth  and  ideal  form  than  "  Robert  le  Diable,"  —  a  judgment 
which  is  largely  based  upon  the  libretto  itself,  which  he  con- 
demns without  stint. 


Dinorah 

"  Dinorah,"  opera  in  three  acts,  founded  upon  a  Breton 
idyl,  words  by  Barbier  and  Carre,  was  first  produced  at  the 
Opera  Comique,  Paris,  April  4,  1859,  under  the  title  of  "  Le 
Pardon  de  Ploermel."  It  contains  but  three  principal  char- 
acters, and  these  were  cast  as  follows :  Dinorah,  Mme.  Cabel ; 
Corentin,  M.  Sainte-Foy;  and  Hoel,  M.  Faure.  On  the  26th 
of  July,  1859,  Meyerbeer  conducted  the  work  himself  at 
Covent  Garden,  London,  with  Mme.  Miolan-Carvalho  as 
Dinorah,  and  it  was  also  produced  the  same  year  in  English 
by  the  Pyne-Harrison  troupe.  The  first  representative  of 
Dinorah  in  this  country  was  Mile.  Cordier. 

The  scene  of  the  opera  is  laid  in  Brittany,  and  when  the 


182  THE    STANDARD    OPERAS 

first  act  opens,  the  following  events  are  supposed  to  have 
transpired:  On  one  of  the  days  appointed  by  the  villagers 
of  Ploermel  for  a  pilgrimage  to  the  shrine  of  the  Virgin, 
Hoel,  the  goatherd,  and  Dinorah,  his  affianced,  set  out  to  re- 
ceive a  nuptial  benediction.  The  festivity  is  interrupted  by 
a  thunder-storm,  during  which  Les  Herbiers,  the  dwelling- 
place  of  Dinorah,  is  destroyed  by  lightning.  Dinorah  is  in 
despair.  Hoel  determines  to  make  good  the  loss,  and  upon 
the  advice  of  Tonick,  an  old  wizard,  resolves  to  go  in  quest 
of  a  treasure  which  is  under  the  care  of  the  Korigans,  a  super- 
natural folk  belonging  to  Brittany.  In  order  to  wrest  it  from 
them,,  however,  it  is  necessary  for  Hoel  to  quit  the  country 
and  spend  a  year  in  solitude  in  a  desolate  region.  He  bravely 
starts  off,  and  Dinorah,  thinking  he  has  abandoned  her,  loses 
her  wits,  and  constantly  wanders  about  the  woods  with  her 
goat,  seeking  him.  Meanwhile  the  year  expires  and  Hoel 
returns,  convinced  that  he  has  the  secret  for  securing  the 
treasure. 

The  overture  to  the  work  is  unique  among  operatic  over- 
tures, as  it  has  a  chorus  behind  the  curtain  interwoven  with 
it.  It  is  a  picture  of  the  opera  itself,  and  contains  a  will-o'- 
the-wisp  passage,  a  rustic  song  with  accompaniment  of  goat- 
bells,  a  storm,  and  in  the  midst  of  the  storm  a  chant  to  the 
Virgin,  sung  by  the  unseen  chorus,  and  then  a  Pilgrimage 
march,  the  whole  being  in  the  nature  of  a  retrospect.  The 
curtain  rises  upon  a  rustic  chorus,  after  which  Dinorah  ap- 
pears, seeking  her  goat,  and  sings  a  slumber-song  ("  Si, 
carina,  caprettina  ")  which  is  very  graceful,  and  concludes  with 
phrases  in  imitation  of  birds.  In  the  next  scene,  Corentin, 
the  bagpiper,  who  has  been  away  three  months,  and  is  nearly 
dead  with  terror  of  goblins  and  fairies,  returns  to  his  cottage, 
and  to  reassure  himself  sings  a  very  quaint  and  original  song 
("  Sto  in  Casa  alfine  "),  to  the  accompaniment  of  his  pipe. 
Dinorah  suddenly  appears  and  enters  the  cottage,  and  much 
to  his  alarm  keeps  him  playing  and  singing,  which  leads  to 
a  very  animated  vocal  contest  between  her  and  the  bagpiper. 
It  is  abruptly  terminated,  however,  by  the  arrival  of  Hoel. 
Dinorah  makes  her  escape  by  a  window,  and  Hoel  relates  to 


MEYERBEER  183 

Corentin  the  story  of  the  Korigans'  treasure.  As  the  first 
person  who  touches  it  will  die,  he  determines  that  Corentin 
shall  be  his  messenger,  and  to  rouse  his  courage  sends  for 
wine.  While  Corentin  is  absent,  Hoel  sings  an  aria  ("  Se 
per  prender").  After  Corentin  returns,  the  tinkling  of  the 
goat's  bell  is  heard.  Dinorah  appears  in  the  distance,  and  a 
charming  trio  closes  the  act,  to  the  accompaniment  of  the 
whistling  wind  and  booming  thunder  on  the  contra  basses  and 
drums  of  the  orchestra. 

The  second  act  opens  with  a  drinking-song  by  woodcutters, 
and  as  they  withdraw,  Dinorah  enters,  seeking  Hoel.  She 
sings  a  tender  lament,  which,  as  the  moonlight  falls  about  her, 
develops  into  the  famous  "  Shadow  Song,"  a  polka  mazurka, 
which  she  sings  and  dances  to  her  shadow.  The  aria,  "  Ombra 
leggiere,"  is  fairly  lavish  in  its  texture  of  vocal  embroidery. 
The  next  scene  changes  to  the  Val  Maudit  (the  Cursed  Vale), 
a  rocky,  cavernous  spot,  through  which  rushes  a  raging  torrent 
bridged  by  a  fallen  tree.  Hoel  and  Corentin  appear  in  quest 
of  the  treasure,  and  the  latter  gives  expression  to  his  terror  in 
a  very  characteristic  manner,  with  the  assistance  of  the  orches- 
tra. Dinorah  is  heard  singing  the  legend  of  the  treasure 
("  Chi  primo  al  tesor "),  from  which  Corentin  learns  that 
whoever  touches  it  first  will  die.  He  refuses  to  go  on,  and  a 
spirited  duet  ensues  between  them,  which  is  interrupted  by 
the  entrance  of  Dinorah  and  her  goat.  Hoel,  fancying  it  is 
a  spirit  sent  to  keep  him  back,  sings  a  very  beautiful  aria 
("Le  crede  il  Padre").  The  act  closes  with  the  fall  of 
Dinorah,  who  attempts  to  cross  the  bridge,  into  the  torrent, 
and  her  rescue  by  Hoel,  to  the  accompaniment  of  a  storm  set 
to  music.  The  scene,  though  melodramatic,  is  very  strong  in 
its  musical  effects. 

The  last  act  opens  with  a  scene  in  striking  contrast,  intro- 
duced with  a  quintet  of  horns,  followed  by  a  hunter's  solo, 
a  reaper's  solo,  a  duet  for  shepherds,  and  a  quartet  in  the 
finale.  Hoel  arrives,  bearing  the  rescued  Dinorah,  and  sings 
to  her  an  exquisite  romance  ("  Sei  vendicata  assai  ").  The 
magic  of  his  singing  and  her  bath  in  the  torrent  restore  her 
wandering  senses.      Hoel  persuades  her  that  all  which  has 


184  THE    STANDARD    OPERAS 

transpired  has  been  a  dream.  The  old  song  of  the  Pardon 
of  Ploermel  comes  to  her^  and  as  she  tries  to  recall  it  the 
chorus  takes  it  up  ("  Santa  Maria  !  nostra  Donna  ")  as  it  was 
heard  in  the  overture.  A  procession  is  seen  in  the  distance, 
and  amid  some  striking  pageant  music  Hoel  and  Dinorah  wend 
their  way  to  the  chapel,  where  the  nuptial  rites  are  supposed 
to  be  performed. 

The  Prophet 

"  Le  Prophete,"  opera  in  five  acts,  words  by  Scribe,  was 
first  produced  in  Paris,  April  16,  1849,  with  INIme.  Viardot- 
Garcia  as  Fides,  and  M.  Roger  as  John  of  Leyden.  "  The 
Prophet  "  was  long  and  carefully  elaborated  by  its  composer. 
Thirteen  years  intervened  between  it  and  its  predecessor, 
"  The  Huguenots  " ;  but  in  spite  of  its  elaboration  it  can 
only  be  said  to  excel  the  latter  in  pageantry  and  spectacular 
effect,  while  its  musical  text  is  more  declamatory  than  melo- 
dious, as  compared  with  "  The  Huguenots."  In  this  sense  it 
was  disappointing  when  first  produced. 

The  period  of  the  opera  is  1534.  The  first  act  transpires 
in  Dordrecht  and  Leyden,  in  Holland,  and  the  other  three  in 
Munster,  Germany.  The  text  closely  follows  the  historical 
narrative  of  the  period  when  Munster  was  occupied  by  John 
of  Leyden  and  his  fanatics,  who,  after  he  had  been  crowned 
by  them  as  Emperor  of  Germany,  was  driven  out  by  the 
bishop  of  the  diocese.  The  first  act  opens  in  the  suburbs  of 
Dordrecht,  near  the  Meuse,  with  the  chateau  of  Count  Ober- 
thal,  lord  of  the  domain,  in  the  distance.  After  a  very  fresh 
and  vigorous  chorus  of  peasants.  Bertha,  a  vassal  of  the 
Count,  betrothed  to  John  of  Leyden,  enters  and  sings  a  cava- 
tina  ("  II  Cor  nel  sento  "),  in  which  she  gives  expression  to 
emotions  of  delight  at  her  approaching  union.  As  she  can- 
not go  to  Leyden,  where  the  marriage  is  to  take  place,  with- 
out the  Count's  consent.  Fides,  the  mother  of  John,  joins  her 
to  make  the  request.  In  the  meantime  the  three  Anabaptists, 
Zacarie,  Gione,  and  Mathisen,  leaders  of  the  revolt  in  West- 
phalia, arrive  on  their  mission  of  raising  an  insurrection  in 


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MEYERBEER  185 

Holland,  and  in  a  sombre  trio  of  a  religious  but  stirring 
character  ("O  Libertade  ")  incite  the  peasants  to  rise  against 
their  rulers.  They  make  an  assault  upon  the  castle  of  Count 
Oberthal,  who  speedily  repels  them,  and  turns  the  tide  of 
popular  feeling  against  the  Anabaptists,  by  recognizing  Gione 
as  a  former  servant  who  had  been  discharged  from  his  ser- 
vice for  dishonesty.  Fides  and  Bertha  then  join  in  a  romanza 
("  Delia  mora  un  giorno  "),  imploring  his  permission  for  the 
marriage  of  Bertha  and  John.  The  Count,  however,  struck 
with  her  beauty,  not  only  refuses,  but  claims  her  for  himself, 
and  seizes  both  her  and  Fides,  and  the  act  closes  with  a  repe- 
tition of  the  warning  chant  of  the  Anabaptists. 

The  second  act  opens  in  the  hostelry  of  John  of  Leyden, 
and  is  introduced  with  a  waltz  and  drinking-chorus,  in  the 
midst  of  which  the  Anabaptists  arrive  and  are  struck  with 
his  resemblance  to  a  portrait  of  David  in  the  Munster  Cathe- 
dral. From  a  very  descriptive  and  highly  wrought  scena 
("  Sotto  le  vasti  Arcati  ")  sung  by  him  they  also  learn  that  he 
is  given  to  visions  and  religious  meditations.  They  assure, 
him  that  he  shall  be  a  ruler;  but  in  a  beautiful  romanza  ("  Un 
Impero  piu  soave  ")  he  replies  that  his  love  for  Bertha  is  his 
only  sovereignty.  Just  as  they  depart,  Bertha,  who  has  es- 
caped, rushes  in  and  claims  his  protection.  He  conceals  her; 
but  has  hardly  done  so  when  the  Count  enters  with  his  soldiers, 
bringing  Fides  as  a  prisoner,  and  threatens  to  kill  her  unless 
Bertha  is  given  up.  He  hesitates ;  but  at  last,  to  save  his 
mother's  life,  delivers  Bertha  to  her  pursuers.  Mother  and 
son  are  left  alone,  and  she  seeks  to  console  him.  In  this  scene 
occurs  one  of  the  most  dramatic  and  intense  of  Meyerbeer's 
arias  ("  O  Figlio  mio,  che  diro  "),  known  more  popularly  by 
its  French  words,  beginning,  "  Ah!  mon  fils."  It  has  enjoyed 
a  world-wide  popularity,  and  still  holds  its  place  in  all  its 
original  freshness  and  vigor.  Fides  hardly  disappears  before 
the  ominous  chant  of  the  Anabaptists  is  heard  again.  He  does 
not  need  much  persuasion  now.  They  make  their  compact  in 
a  quartet  of  great  power,  which  closes  the  act;  and  some  of 
John's  garments  are  left  behind  stained  with  blood,  that  his 
mother  may  believe  he  has  been  killed. 


186  THE    STANDARD    OPERAS 

The  third  act  opens  in  the  Anabaptists'  camp  in  a  West- 
phalian  forest,  a  frozen  lake  near  them,  and  Munster,  which 
they  are  besieging,  in  the  distance.  In  the  second  scene 
Zacarie  sings  a  stirring  psean  of  victory  ("  In  coppia  son"), 
followed  by  the  beautiful  ballet  music  of  the  skaters  as  they 
come  bringing  provisions  to  the  troops.  Count  Oberthal  mean- 
while has  been  taken  prisoner  and  brought  into  camp.  A 
buffo  trio  between  himself  and  his  captors  follows,  in  which 
Gione  penetrates  his  disguise  and  recognizes  him.  They  are 
about  to  fall  upon  him;  but  John,  learning  from  him  that 
Bertha  is  still  alive  and  in  Munster,  saves  his  life.  He  im- 
mediately resolves  to  take  the  place  by  assault,  rouses  his 
followers  with  religious  chants  of  a  martial  character,  and  the 
act  concludes   with  the  march  on  the  cit3\ 

The  fourth  act  opens  in  the  city  itself  after  its  capture, 
A  mendicant  appears  in  the  public  square  begging  for  bread. 
It  is  Fides;  and  in  a  plaintively  declamatory  aria  of  striking 
power  ("  Pieta!  pieta !  ")  she  implores  alms.  She  meets  with 
Bertha  disguised  as  a  pilgrim,  and  bent  upon  the  destruction 
of  the  Prophet,  who,  she  believes,  has  been  the  cause  of  John's 
death.  The  next  scene  opens  in  the  cathedral,  where  the 
coronation  of  the  Prophet  is  to  take  place;  and  among  all 
Meyerbeer's  pageants  none  is  more  imposing  than  this,  with 
its  accompaniment  of  pealing  bells,  religious  chants,  the  strains 
of  the  organ,  and  the  stately  rhythms  of  the  great  Coronation 
March.  It  is  a  splendid  prelude  to  the  dramatic  scene  which 
follows.  In  the  midst  of  the  gorgeous  spectacle,  the  voice 
of  Fides  is  heard  claiming  the  Prophet  as  her  son.  John 
boldly  disavows  her,  and  tells  his  followers  to  kill  him  if  she 
does  not  confirm  the  disavowal.  The  feelings  of  the  mother 
predominate,  and  she  declares  that  she  is  mistaken.  The 
multitude  proclaim  it  a  miracle,  and  Fides  is  removed  as  a 
prisoner. 

The  last  act  opens  with  a  trio  by  the  Anabaptist  leaders, 
who,  learning  that  the  enemy  is  approaching  in  force,  deter- 
mine to  save  themselves  by  betraying  John.  In  the  third 
scene  Fides  in  prison,  learning  that  John  is  coming  to  see  her, 
invokes  the  punishment  of  Heaven  upon  him  in  the  passionate 


MEYERBEER  187 

aria,  "  Spirto  superno."  A  duet  ("  Tu  che  del  Cielo  ")  of 
great  power  follows,  in  which  Fides  convinces  him  of  the  errors 
of  his  course.  As  they  are  about  to  leave.  Bertha  enters,  bent 
upon  the  destruction  of  the  palace,  and  in  the  trio  which  en- 
sues learns  that  John  and  the  Prophet  are  one.  She  stabs 
herself,  and  dying  in  the  arms  of  Fides  curses  him.  The  last 
scene  opens  in  a  banqueting  hall  of  the  palace,  where  John 
is  revelling,  with  the  Anabaptists  around  him.  He  sings  a 
bacchanalian  song  of  a  wild  description  ("  Bevian  e  intorno  "), 
and,  as  it  closes,  the  Bishop  of  Munster,  the  Elector,  Count 
Oberthal,  and  the  three  Anabaptists  who  have  betrayed  him, 
enter  the  apartment.  The  revenge  which  John  has  planned 
is  now  consummated.  An  explosion  is  heard.  Flames  break 
out  on  all  sides.  Fides  rushes  in  and  forgives  her  son,  and 
the  Prophet,  his  mother,  and  his  enemies  perish  together. 

Although  "  The  Prophet  "  did  not  meet  with  the  popularity 
of  some  of  his  other  operas,  it  contains  some  of  the  most 
vigorous  and  dramatic  music  Meyerbeer  has  written,  —  notably 
the  arias  of  Zacarie  and  Fides,  the  skating-ballet^  the  Corona- 
tion March,  and  the  drinking-song. 


L'Africaine 

"  L'Africaine,"  grand  opera  in  five  acts,  words  by  Scribe, 
was  first  produced  at  the  Academic,  Paris,  April  28,  1865, 
with  the  following  cast: 

Selika Mme.  Maeie  Saxe. 

Inez Mile.  Mabie  Batteo. 

Vasco  di  Gama M.  Naudin. 

Nelusko M.  Fatjre. 

Don  Pedro M.  Belval. 

High  Priest M.  Obin. 

The  libretto  of  the  opera  was  first  given  to  Meyerbeer  by 
Scribe  in  1838;  but  such  were  the  alterations  demanded  by 
the  composer,  that  at  last  Scribe  withdrew  it  altogether,  al- 
though the  music  was  already  set.  In  1852  he  furnished  a 
revised  libretto,  and  the  music  was  revised  to  suit  it.     The 


188  THE    STANDARD    OPERAS 

work  was  not  finished  until  I860,  and  owing  to  the  difficulty 
of  filling  the  cast  satisfactorily,  was  not  brought  to  rehearsal 
until  the  Fall  of  1863.  While  still  correcting  and  improving 
it,  Meyerbeer  died,  and  it  was  not  produced  until  two  years 
later.  Shortly  after  the  Paris  performance  it  was  brought  out 
in  London,  with  Mile.  Lucca  in  the  part  of  Selika.  Mme. 
Zucchi  was  one  of  the  earliest  representatives  of  the  slave  in 
this  country. 

The  scene  of  the  opera  is  laid  in  Portugal  and  Africa,  and 
the  first  act  opens  in  the  council  chamber  of  the  king  of  the 
former  country.  Inez,  his  daughter,  is  mourning  the  long 
absence  of  her  betrothed,  Vasco  di  Gama,  the  explorer.  Her 
father,  wishing  to  marry  her  to  Don  Pedro,  the  President  of 
the  Council,  tries  to  persuade  her  that  Vasco  has  perished  by 
shipwreck;  but  the  refutation  of  the  story  comes  in  the  sudden 
appearance  of  Vasco  himself,  who  is  summoned  before  the 
Council  and  narrates  to  them  his  discovery  of  a  strange  land, 
producing  two  of  the  natives,  Selika  and  Nelusko,  as  confirma- 
tions of  his  announcement.  Don  Pedro  incites  the  inquisitors 
to  deny  the  truth  of  the  story,  at  which  Vasco  breaks  out  in 
such  a  furious  rage  against  them  that  he  is  arrested  and 
thrown  into  a  dungeon.  The  second  act  opens  in  the  prison, 
where  Selika  is  watching  the  slumbering  Vasco.  As  he  wakens 
she  declares  her  love  for  him,  and  at  the  same  time  saves  him 
from  the  dagger  of  the  jealous  Nelusko.  She  also  indicates 
to  him  the  course  he  should  have  taken  to  discover  the  island 
of  which  he  is  in  quest.  To  save  her  lover,  Inez  consents 
to  wed  Don  Pedro ;  and  the  latter,  to  cheat  Vasco  of  his  fame, 
takes  command  of  the  expedition  under  the  pilotage  of  Nelusko, 
and  sets  sail  for  the  new  land.  The  Indian,  thirsting  for 
vengeance,  directs  the  vessel  out  of  her  course  towards  a  reef; 
but  Vasco,  who  has  followed  in  another  vessel,  arrives  in  time 
to  warn  Don  Pedro  of  his  danger.  He  disregards  the  warn- 
ing, distrusts  his  motives,  and  orders  him  to  be  shot;  but 
before  the  sentence  can  be  carried  out,  the  vessel  strikes  and 
is  boarded  by  the  savages,  who  slaughter  the  commander  and 
most  of  his  men.  The  fourth  act  opens  on  the  island  which 
Selika  pointed  out  on  the  map,  and  of  which  she  is  queen.    To 


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MEYERBEER  189 

save  him  from  her  subjects,  she  declares  herself  his  spouse; 
but  as  the  marriage  rite  is  about  to  be  celebrated,  Vasco  hears- 
the  voice  of  Inez  in  the  distance,  deserts  Selika,  and  flies  to 
her.  In  the  last  act,  as  the  vessel  sails  away  bearing  Vasco 
and  Inez  back  to  Portugal,  Selika  throws  herself  down  under 
the  poisonous  manchineel  tree  and  kills  herself  with  its  fatal 
flowers;  expiring  in  the  arms  of  Nelusko,  who  shares  the 
same  fate. 

The  first  act  opens  with  a  very  sweet  but  sombre  ballad 
sung  by  Inez  ("  Del  Tago  sponde  addio  "),  which  recalls  the 
English  song,  "  Isle  of  Beauty,  fare  thee  well,"  and  is  fol- 
lowed by  a  bold  and  flowing  terzetto.  The  third  scene  opens 
with  a  stately  chorus  ("  Tu  che  la  Terra  adora  ")  sung  by  the 
basses  in  unison,  opening  the  Council  before  which  Vasco 
appears ;  and  the  act  closes  with  an  anathema  hurled  at  him 
("  Ribelle,  insolente  "),  —  an  ensemble,  pronounced  in  its 
rhythm  and  majestic  in  the  sweep  of  its  passionate  music. 

The  second  act  opens  with  the  quaint  slumber-song  ("  lo 
grembo  a  me")  which  Selika  sings  to  Vasco  in  prison.  It  is 
Oriental  in  color,  and  is  broken  here  and  there  by  a  barcarole 
which  Vasco  murmurs  in  his  sleep.  In  striking  contrast  with 
its  dreamy,  quiet  flow,  it  leads  up  to  a  passionate  aria  ("  Tran- 
quil lo  e  gia  ")  based  upon  a  strong  and  fiery  motive.  In  the 
next  scene  follows  an  aria  of  equal  vigor  sung  by  Nelusko 
("  Figlia  dei  Re  "),  in  which  his  devotion  to  Selika  changing 
to  his  hatred  of  Vasco  is  characterized  by  a  grand  crescendo. 
The  act  closes  with  a  vigorous  sextet,  the  motive  of  which  is 
strangely  similar  to  the  old  song,  "  The  JNIinstrel  Boy." 

The  third  act  contains  a  very  impressive  number,  Nelusko's 
invocation  of  Adamastor  ("  Adamastor,  re  dell'  Onde  pro- 
fondo "),  but  is  mainly  devoted  to  the  ship  scene,  which, 
though  grotesque  from  the  dramatic  point  of  view,  is  accom- 
panied by  music  of  a  powerful  and  realistic  description,  writ- 
ten with  all  the  vividness  and  force  Meyerbeer  always  dis- 
plays in  his  melodramatic  ensembles.  The  fourth  act  contains 
the  most  beautiful  music  of  the  opera,  —  Vasco's  opening  aria, 
"  O  Paradiso  " ;  the  ensemble  in  the  fourth  scene,  in  which 
Selika  protects   Vasco  and   Nelusko   swears   vengeance    ("  Al 


190  THE    STANDARD    OPERAS 

mio  penar  de  fine  ") ;  the  duet  between  Vasco  and  Selika 
("  Dove  son  "),  which  has  often  been  compared  to  the  duet 
in  the  fourth  act  of  "  The  Huguenots/'  though  it  has  not  the 
passionate  intensity  of  the  scene  between  Raoul  and  Valentin; 
and  the  graceful  choruses  of  the  Indian  maidens  and  Inez's 
attendants  which  close  the  act. 

The  last  act  contains  two  scenes,  —  the  first  in  Selika's 
gardens,  where  there  is  a  long  and  spirited  duet  between  Inez 
and  Selika.  The  second,  known  as  "  La  Scene  du  Mancenil- 
lier,"  has  a  symphonic  prelude  in  the  form  of  a  funeral  march, 
based  upon  a  fascinating  melody,  which  is  beyond  question  the 
finest  of  Meyerbeer's  instrumental  numbers  in  any  of  his 
works.  From  this  point  the  story  hastens  to  its  tragic  de- 
nouement ;  and  nearly  the  entire  scene  is  occupied  with  Selika's 
dying  song,  which  opens  with  a  majestic  apostrophe  to  the 
sea  ("  Da  qui  io  vedo  il  Mar  "),  then  turns  to  sadness  as  she 
sings  to  the  fatal  tree  ("  O  Tempio  sontuoso  "),  and  at  the 
close  develops  into  a  passionate  outcry  of  joy  ("  O  douce 
Extase  ").  Though  the  plot  of  "  L'Africaine  "  is  often  absurd, 
many  of  its  incidents  preposterous,  and  some  of  its  characters 
unattractive,  the  opera  is  full  of  effective  situations,  and  re- 
peatedly illustrates  Meyerbeer's  powers  of  realization  and  his 
knowledge  of  musical  and  dramatic  effects. 


(( 


MOZART    (WOLFGANG   AMADEUS) 

The  Marriage  of  Figaro 

LE  Nozze  di  Figaro/'  in  the  German  version  "  Die 
Hochzeit  des  Figaro,"  opera  bouffe  in  four  acts,  the 
words  by  Lorenzo  da  Ponte,  after  Beaumarchais's  comedy, 
"  Le  Mariage  de  Figaro,"  was  first  produced  at  the  National 
Theatre,  Vienna,  May  1,  1786,  with  the  following  cast: 

Countess  Almaviva Signora  Storage. 

Susanna Signora  Laschi. 

Chenibino Signora  Mandini. 

Marcellina Signora  Bussani. 

Barbarina Frau  Gottlieb. 

Count  Almaviva Sig.  Mandini. 

Figaro Sig.  Benucci. 

Bartolo Sig.  Occheley. 

Basilio Sig.  Bussani. 

It  was  first  brought  out  in  Paris  in  1793,  with  Beau- 
marchais's spoken  dialogue,  in  five  acts,  as  "  Le  Mariage  de 
Figaro,"  and  in  1858  at  the  Theatre  Lyrique  in  the  same  city, 
in  four  acts,  as  "  Les  Noces  de  Figaro,"  with  text  by  Barbier 
and  Carre.  The  late  Mme.  Parepa-Rosa  introduced  it  in  this 
country  in  its  English  form  with  great  success. 

At  the  time  the  libretto  was  written,  Beaumarchais's  satiri- 
cal comedy,  "  Le  Mariage  de  Figaro,"  had  been  performed  all 
over  Europe,  and  had  attracted  great  attention.  It  had  been 
prohibited  in  Paris,  and  had  caused  great  commotion  in  Vienna. 
Mozart's  notice  was  thus  drawn  to  it,  and  he  suggested  it  to 
Da  Ponte  for  a  libretto,  and  the  Emperor  Joseph  subsequent!}'' 
commissioned  the  composer  to  set  it  to  music,  though  he  had 
already  composed  a  portion  of  it.  The  entire  opera  was 
written  during  the  month  of  April,  and  the  wonderful  finale 


192  THE    STANDARD    OPERAS 

to  the  second  act  occupied  him  for  two  nights  and  a  day. 
When  it  came  to  a  performance,  its  success  was  remarkable. 
Kelly,  who  was  present,  says,  in  his  "  Reminiscences " : 
"  Never  was  there  a  greater  triumph  than  Mozart  enjoyed 
with  his  '  Figaro.'  The  house  was  crowded  to  overflowing, 
and  almost  everything  encored,  so  that  the  opera  lasted  nearly 
double  the  usual  time;  and  yet  at  its  close  the  public  were 
unwearied  in  clapping  their  hands  and  shouting  for  Mozart." 
Popular  as  it  was,  it  was  soon  laid  aside  in  Vienna  through 
the  influence  of  the  Italian  faction  headed  by  Salieri,  one  of 
Mozart's  rivals. 

The  story  of  the  opera  is  laid  in  Spain.  Count  Almaviva, 
who  had  won  his  beautiful  Countess  with  the  aid  of  Figaro, 
the  barber  of  Seville,  becomes  enamoured  of  her  maid  Susanna, 
and  at  the  same  time,  by  the  collusion  of  the  two,  in  order  to 
punish  him,  is  made  jealous  by  the  attentions  paid  to  the 
Countess  by  Cherubino,  the  page.  Meanwhile  Figaro,  to 
whom  Susanna  is  betrothed,  becomes  jealous  of  the  Count  for 
his  gallantry  to  her.  Out  of  these  cross-relations  arise  several 
humorous  surprises.  Besides  these  characters  there  are  two 
others  who  have  been  disappointed  in  love,  —  Bartolo,  who  has 
been  rejected  by  Susanna,  and  Marcellina,  whose  affection  for 
Figaro  has  not  been  requited.  The  Count  seeks  to  get  rid  of 
Cherubino  by  ordering  him  off  to  the  wars,  but  he  is  saved 
by  Susanna,  who  disguises  him  in  female  attire.  The  Countess, 
Susanna,  Figaro,  and  Cherubino  then  conspire  to  punish  the 
Count  for  his  infidelity.  The  latter  suddenly  appears  at  his 
wife's  door,  and  finding  it  locked  demands  an  entrance.  Cher- 
ubino, alarmed,  hides  himself  in  a  closet  and  bars  the  door. 
The  Count  is  admitted,  and  finding  the  Countess  in  confusion 
insists  upon  searching  the  closet.  He  goes  out  to  find  some 
means  of  breaking  in  the  door,  and  Cherubino  improves  the 
opportunity  to  jump  out  of  the  window,  while  Susanna  takes 
his  place  and  confronts  the  puzzled  Count.  Antonio,  the 
gardener,  comes  in  and  complains  that  some  one  has  jumped 
from  the  window  and  broken  his  flower-pots.  Figaro  at  once 
asserts  that  he  did  it. 

A  ludicrous  side  plot  unfolds  at  this  point.     Marcellina  ap- 


Sigrid  Arnoldson  as  Cherubiiio 


MOZART  198 

pears  with  a  contract  of  marriage  signed  by  Figaro,  bringing 
Bartolo  as  a  witness.  The  Count  decides  that  Figaro  must 
fulfil  his  contract,  but  the  latter  escapes  by  showing  that  he 
is  the  son  of  Marcellina,  and  that  Bartolo  is  his  father. 
Meanwhile  the  main  plot  is  developed  in  another  conspiracy 
to  punish  the  Count.  Susanna  contrives  a  rendezvous  with 
the  Count  at  night  in  the  garden,  having  previously  arranged 
with  the  Countess  that  she  shall  disguise  herself  as  the  maid, 
the  latter  also  assuming  the  part  of  the  Countess,  and  arrive 
in  time  to  surprise  the  two.  The  page  also  puts  in  an  ap- 
pearance, and  gets  his  ears  boxed  for  his  attentions  to  the 
disguised  Countess.  Figaro,  who  has  been  informed  that 
Susanna  and  the  Count  are  to  meet  in  the  garden,  comes  on 
the  scene,  and  in  revenge  makes  a  passionate  declaration  of 
love  to  the  supposed  Countess,  upon  which  the  Count,  who 
is  growing  more  and  more  bewildered,  orders  lights  and  makes 
his  supposed  wife  unveil.  The  real  wife  does  the  same. 
Covered  with  confusion,  he  implores  pardon  of  the  Countess, 
which  is  readily  given.  The  two  are  reconciled,  and  Figaro 
and  Susanna  are  united. 

The  whole  opera  is  such  a  combination  of  playfulness  and 
grace  that  it  is  a  somewhat  ungracious  task  to  refer  to  par- 
ticular numbers.  In  these  regards  it  is  the  most  Mozartean 
of  all  the  composer's  operas.  The  first  act  opens  with  a 
sparkling  duet  between  Figaro  and  Susanna,  in  which  she 
informs  him  of  the  Count's  gallantries.  As  she  leaves,  Figaro, 
to  the  accompaniment  of  his  guitar,  sings  a  rollicking  song 
("  Se  vuol  ballare,  Signor  Contino  "),  in  which  he  intimates 
that  if  the  Count  wishes  to  dance  he  will  play  for  him  in  a 
style  he  little  expects.  In  the  second  scene  Bartolo  enters, 
full  of  his  plans  for  vengeance,  which  he  narrates  in  a  grim 
and  grotesque  song  ("  La  Vendetta ").  The  fourth  scene 
closes  with  an  exquisite  aria  by  Cherubino  ("  Non  so  piii 
cosa  son ").  After  an  exceedingly  humorous  trio  ("  Cosa 
sento.''  tosto  andate")  for  the  Count,  Basilio,  and  Susanna, 
and  a  bright,  gleeful  chorus  ("  Giovanni  liete  "),  Figaro  closes 
the  act  with  the  celebrated  aria,  "  Non  piii  andrai."  Of  the 
singing  of  this  great  song  at  the  first  rehearsal  of  the  opera 


194  THE    STANDARD    OPERAS 

Kelly  says  in  his  "  Reminiscences  ":"  I  remember  Mozart  well 
at  the  first  general  rehearsal,  in  a  red  furred  coat  and  a  gal- 
looned  hat,  standing  on  the  stage  and  giving  the  tempi. 
Benucci  sang  Figaro's  aria,  '  Non  piu  andrai/  with  the  utmost 
vivacity  and  the  full  strength  of  his  voice.  I  stood  close  be- 
side Mozart,  who  exclaimed,  sotto  voce,  '  Brava !  brava ! 
Benucci !  '  and  when  that  fine  passage  came,  '  Cherubino,  alia 
vittoria,  alia  gloria  militar,'  which  Benucci  gave  in  a  stentorian 
voice,  the  effect  was  quite  electrical,  both  upon  the  singers 
on  the  stage  and  the  musicians  in  the  orchestra.  Quite  trans- 
ported with  delight,  they  all  called  out,  '  Brava !  brava.  Maes- 
tro !  viva !  viva !  viva  il  grand  Mozart !  '  In  the  orchestra 
the  applause  seemed  to  have  no  end,  while  the  violin  players 
rapped  their  bows  on  their  desks.  The  little  Maestro  ex- 
pressed his  gratitude  for  the  enthusiasm,  testified  in  so  unusual 
a  manner,  by  repeatedly  bowing." 

The  second  act  is  the  masterpiece  of  the  opera,  and  contains 
in  itself  music  enough  to  have  made  any  composer  immortal. 
It  opens  with  a  serious  aria  by  the  Countess  ("  Porgi  amor  "), 
followed  by  Cherubino's  well-known  romanza  ("  Voi,  die 
sapete  "),  one  of  the  sweetest  and  most  effective  songs  ever 
written  for  contralto,  and  this  in  turn  by  Susanna's  coquettish 
song  ("  Venite,inginocchiatevi"),  as  she  disguises  Cherubino. 
A  spirited  trio  and  duet  lead  up  to  the  great  finale,  begun  by 
the  Count  ("  Esci  omai,  garzon  malnato  ").  Upon  this  finale 
Mozart  seems  to  have  lavished  the  riches  of  his  musical  genius 
with  the  most  elaborate  detail  and  in  bewildering  profusion. 
It  begins  with  a  duet  between  the  Count  and  Countess,  then 
with  the  entrance  of  Susanna  changes  to  a  trio,  and  as  Figaro 
and  Antonio  enter,  develops  into  a  quintet.  In  the  close,  an 
independent  figure  is  added  by  the  entrance  of  Marcellina, 
Barbarina,  and  Basilio,  and  as  Antonio  exits,  this  trio  is  set 
against  the  quartet  with  independent  themes  and  tempi. 

The  third  act  opens  with  a  duet  ("  Crudel !  perche  finra  ") 
for  the  Count  and  Countess,  followed  by  a  very  dramatic  scena 
for  the  Count,  beginning  with  the  recitative,  ("  Hai  gia  vinto 
la  causa!")  which  in  turn  leads  up  to  a  lively  and  spirited 
sextet  ("  Riconosci  in  questo  amplesso  ").     The  two  numbers 


MOZART  195 

which  follow  the  sextet  are  recognized  universally  as  two  of 
the  sweetest  and  most  melodious  ever  written,  —  the  exquisite 
aria  ("  Dove  sono ")  for  the  Countess,  and  the  "  Zephyr 
Duet/'  as  it  is  popularly  known  ("  Canzonetta  suU'  aria.  Che 
soave  zefiretto "),  which  stands  unsurpassed  for  elegance, 
grace,  and  melodious  beauty.  The  remaining  numbers  of 
prominent  interest  are  a  long  and  very  versatile  buffo  aria  for 
tenor  ("  In  quegl'  anni"),  sung  by  Basilio,  Figaro's  stirring 
march  number  ("  Ecco  la  Marcia  "),  and  a  lovely  song  for  Su- 
sanna ("  Deh,  vieni,  non  tardar").  The  opera  is  full  of  life 
and  human  interest.  Its  wonderful  cheerfulness  and  vital  sym- 
pathy appeal  to  every  listener,  and  its  bright,  free,  joyous  tone 
from  beginning  to  end  is  no  less  fascinating  than  the  ex- 
quisite melodies  with  which  Mozart  has  so  richly  adorned  it. 
Like  "  Don  Giovanni  "  and  the  "  Magic  Flute,"  the  best  test 
of  the  work  is,  that  in  its  third  century  it  is  as  fresh  and 
bright  and  popular  as  ever. 


Don  Giovanni 

"  Don  Giovanni,"  opera  bouffe  in  two  acts,  words  by  Da 
Ponte,  was  first  produced  at  Prague,  October  29,  1787.  The 
full  title  of  the  work  is  "  II  dissoluto  punito,  ossia  il  Don 
Giovanni,"  and  the  subject  was  taken  from  a  Spanish  tale 
by  Tirso  de  Molina,  called  "  El  combidado  de  piedra."  The 
original  cast  of  the  opera  was  as  follows: 

Donna  Anna Signora  Teresa  Sapohitti. 

Donna  Elvira Signora  Micelu. 

Zerlina Signora  Bondini. 

Don  Ottavio Sig.  Baglioni. 

Don  Giovanni .  Sig.  Luigi  Bassi. 

Leporello Sig.  Feuce  Ponziani. 

Masetto  and  Don  Pedro Sig.  Loixi. 

The  success  of  "  The  Marriage  of  Figaro  "  prepared  the 
way  for  "  Don  Giovanni."  Mozart  wrote  the  opera  in  Prague, 
and  completed  it,  except  the  overture,  October  28,  1787,  about 
six  weeks  after  he  arrived  in  the  city.     The  first  performance 


196  THE    STANDARD    OPERAS 

took  place  the  next  evening.    The  overture  was  written  during 

the  night,  the  copyist  received  the  score  at  seven  o'clock  in 

the  morning,  and  it  was  played  at  eight  in  the  evening.     He 

had   only   a   week   for   stage   rehearsals,   and   yet   the   opera 

created  a  furor.    As  an  instance  of  his  extraordinary  memory, 

it  is  said  that  the  drum  and  trumpet  parts  to  the  finale  of  the 

second   act   were   written   without   the   score,    from   memory. 

When  he  brought  the  parts  into  the  orchestra,  he  remarked, 

"  Pray,   gentlemen,  be   particularly   attentive   at  this   place," 

pointing  to  one,  "  as  I  believe  that  there  are  four  bars  either 

too  few  or  too  many."     His  remark  was  found  to  be  true.     It 

is  also  said  that  in  the  original  score  the  brass  instruments 

frequently  have  no  place,  as  he  wrote  the  parts  continually 

on  separate  bits  of  paper,  trusting  to  his  memory  for  the  score. 

The  next  year  (1788)  the  opera  was  brought  out  in  Vienna, 

and    for   this    production    he    wrote    four    new    numbers,  —  a 

recitative  and  aria  for  Donna  Elvira   ("  In  quali  eccessi,  O 

Numi  ")  ;    an  aria  for  Masetto    ("  Ho  capito.  Signer,  si  ")  ; 

a  short  aria   for  Don  Ottavio   ("  Dalla  sua  pace");    and  a 

duet  for  Zerlina  and  Leporello  ("  Per  queste  tue  manine  "). 

The  scene  of  the  opera  is  laid  in  Spain.     Don  Giovanni,  a 
licentious  nobleman,  becomes  enamoured  of  Donna  Anna,  the 
daughter  of  the  Commandant  of  Seville,  who  is  betrothed  to 
Don  Ottavio.     He  gains  admission  to  her  apartments  at  night, 
and   attempts   to   carry   her   away;     but  her  cries   bring  her 
father  to  her  rescue.     He  attacks  Don  Giovanni,  and  in  the 
encounter  is  slain.     The  libertine,  however,  in  company  with 
his  rascally  servant,  Leporello,  makes  good  his  escape.     While 
the  precious  pair  are  consulting  about  some  new  amour,  Donna 
Elvira,  one  of  his   victims,  appears   and  taxes  him  with  his 
cruelty;    but  he   flies   from  her,  leaving  her  with  Leporello, 
who  horrifies  her  with  an  appalling  list  of  his  master's  con- 
quests in  various  countries.     Don  Giovanni  next  attempts  the 
ruin   of   Zerlina,   a   peasant   girl,   upon   the   very   eve   of   her 
marriage  with  her  lover,  Masetto.     Donna  Elvira,  however, 
appears  and  thwarts  his  purposes,  and  also  exposes  him  to 
Donna  Anna  as  the  murderer  of  her  father,  whereupon  she 
binds   her   lover,    Don   Ottavio,   to   avenge   his   death.      Don 


Sontas:  as  Donna  Anna 


MOZART  197 

Giovanni  does  not  abandon  his  purpose,  however.  He  gives 
a  fete,  and  once  more  seeks  to  accomplish  Zerlina's  ruin,  but 
is  again  thwarted  by  her  three  friends. 

The  second  act  opens  in  a  public  square  of  Seville  at  night. 
Don  Giovanni  and  Leporello  appear  before  the  house  of 
Donna  Elvira,  where  Zerlina  is  concealed.  Leporello,  dis- 
guised in  his  master's  cloak,  and  assuming  his  voice,  lures 
Donna  Elvira  out,  and  feigning  repentance  for  his  conduct 
induces  her  to  leave  with  him.  Don  Giovanni  then  proceeds 
to  enter  the  house  and  seize  Zerlina;  but  before  he  can  ac- 
complish his  purpose,  Masetto  and  his  friends  appear,  and 
supposing  it  is  Leporello  before  them,  demand  to  know  where 
his  master  is,  as  they  are  bent  upon  killing  him.  Don  Gio- 
vanni easily  disposes  of  Masetto,  and  then  rejoins  his  servant 
near  the  equestrian  statue,  which  has  been  erected  to  the 
memory  of  the  murdered  Don  Pedro.  To  their  astonishment 
the  statue  speaks,  and  warns  the  libertine  he  will  die  before 
the  morrow.  Don  Giovanni  laughs  at  the  prophecy,  and  in- 
vites the  statue  to  a  banquet  to  be  given  the  next  day  at  his 
house.  While  the  guests  are  assembled  at  the  feast,  an  omi- 
nous knock  is  heard  at  the  door  and  the  statue  unceremoniously 
enters.  All  except  Leporello  and  Don  Giovanni  fly  from  the 
room  in  terror.  The  doomed  man  orders  an  extra  plate,  but 
the  statue  extends  its  hand  and  invites  him  to  sup  with  it. 
He  takes  the  marble  hand,  and  its  cold  fingers  clutch  him 
in  a  firm  grasp.  Thrice  the  statue  urges  him  to  repent,  and 
as  many  times  he  refuses;  whereupon,  as  it  disappears,  de- 
mons rise,  seize  Don  Giovanni,  and  carry  him  to  the  infernal 
regions. 

Musically  considered,  "  Don  Giovanni "  is  regarded  as 
Mozart's  greatest  opera,  though  it  lacks  the  bright  joyousness 
of  "  The  Marriage  of  Figaro,"  and  its  human  interest.  Its 
melodies  are  more  pronounced,  and  have  entered  more  freely 
into  general  use,  however,  than  those  of  the  former.  Repulsive 
as  the  story  is,  some  of  the  melodies  which  illustrate  it  have 
been  impressed  into  the  service  of  the  church.  The  first  act 
is  introduced  with  a  humorous  aria  by  Leporello  ("  Notte  e 
giorno  faticar"),  in  which  he  complains  of  his  treatment  by 


198  THE    STANDARD    OPERAS 

his  master.  After  the  murder  of  Don  Pedro,  in  the  second 
scene,  occurs  a  trio  between  Donna  Elvira,  Don  Giovanni, 
and  Leporello,  the  leading  motive  of  which  is  a  beautiful  aria 
sung  by  Donna  Elvira  ("  Ah!  chi  mi  dice  mai  ").  The  scene 
closes  with  the  great  buffo  aria  of  Leporello  ("Madamina! 
11  Catalogo ")  popularly  known  as  the  "  Catalogue  Song," 
which  is  full  of  broad  humor,  though  its  subject  is  far  from 
possessing  that  quality.  In  the  third  scene  occur  the  lovely 
duet  for  Don  Giovanni  and  Zerlina  ("  La,  ci  darem  la  Mano  "), 
two  arias  of  great  dramatic  intensity  for  Donna  Elvira  ("  Mi 
tradi  ")  and  Donna  Anna  ("  Or  sai,  chi  1'  Onore  "),  and  Don 
Giovanni's  dashing  song  ("  Fin  ch'han  dal  Vino  "),  the  music 
of  which  is  in  admirable  keeping  with  the  reckless  nature 
of  the  libertine  himself.  The  last  scene  is  a  treasure-house  of 
music,  containing  the  exquisitely  coquettish  aria,  "  Batti,  batti," 
which  Zerlina  sings  to  the  jealous  Masetto,  and  the  beautiful 
trio  of  Donna  Anna,  Donna  Elvira,  and  Don  Ottavio,  known 
as  the  Masked  Trio,  set  off  against  the  quaint  minuet  music 
of  the  fete  and  the  hurly-burly  which  accompanies  the  dis- 
covery of  Don  Giovanni's  black  designs. 

The  second  act  opens  with  a  humorous  duet  between  master 
and  servant  ("  Eh,  via,  Buffone  "),  followed  by  the  trio,  "  Ah! 
taci,  ingiusto  Core !  "  as  Elvira  appears  at  her  window.  After 
she  leaves  with  Leporello,  Don  Giovanni  sings  a  serenade 
("  Deh  vieni  alia  Finestra?  ")  to  Zerlina,  which  is  interrupted 
by  the  appearance  of  Masetto  and  his  friends.  Zerlina  is 
summoned  to  the  scene  by  the  cries  of  Masetto  after  Don 
Giovanni  has  beaten  him,  and  sings  to  him  for  his  consolation 
the  beautiful  aria  ("  Vedrai,  carino  "),  which  has  more  than 
once  been  set  to  sacred  words,  and  has  become  familiar  as 
a  church  tune,  notwithstanding  the  unsanctity  of  its  original 
setting.  The  second  scene  opens  with  a  strong  sextet  ("  Sola, 
sola,  in  bujo  Loco"),  followed  by  the  ludicrously  solemn  ap- 
peal of  Leporello  ("  Ah  !  pieta,  Signori  miei  "),  and  that  aria, 
beloved  of  all  tenors  ("  II  mio  tesoro  ").  The  finale  is  occupied 
with  the  scenes  at  the  statue  and  at  the  banquet,  a  short  scene 
between  Donna  Anna  and  Don  Ottavio  intervening,  in  which 
she  sings  the  aria  ("  Non  mi  dir  ").      The  statue  music  through- 


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MOZART  199 

out  is  of  a  sepulchral  character,  gradually  developing  into 
strains  almost  as  cold  and  ominous  as  the  marble  of  the  Com- 
mandant himself,  and  yet  not  without  an  element  of  the 
grotesque  as  it  portrays  the  terror  of  Leporello. 

It  is  said  that  in  revenge  at  his  Italian  rivals,  Mozart  in- 
troduced an  aria  from  Martin's  "  La  Cosa  Rara,"  arranged 
for  wind  instruments,  and  also  a  favorite  aria  of  Sarti's,  to 
be  played  at  the  banquet  when  the  hungry  Leporello  beholds 
his  master  at  the  table  and  watches  for  some  of  the  choice 
morsels,  and  parodied  them  in  an  amusing  manner.  He  never 
could  retain  an  enmity  very  long,  however,  and  so  at  the  end 
of  the  banquet  he  parodied  one  of  his  own  arias,  the  famous 
"  Non  piu  andrai,"  by  giving  it  a  comical  turn  to  suit 
Leporello's  situation.  The  criticism  of  one  of  the  best  biog- 
raphers of  Mozart  upon  this  opera  is  worth  repeating  in  this 
connection:  "Whether  we  regard  the  mixture  of  passions  in 
its  concerted  music,  the  profound  expression  of  melancholy,  the 
variety  of  its  situations,  the  beauty  of  its  accompaniment,  or 
the  grandeur  of  its  heightening  and  protracted  scene  of  terror, 
—  the  finale  of  the  second  act,  —  '  Don  Giovanni '  stands  alone 
in  dramatic  eminence." 


The  Magic  Flute 

"  Die  Zauberflote,"  opera  in  two  acts,  words  by  Emanuel 
Schickaneder,  was  first  produced  at  Vienna,  September  30, 
1791,  with  the  following  cast: 

Queen  of  Night Frau  Hofer. 

Pamina Frl.  Gotlieb. 

Papagena Frau  Gohl. 

Tamino .  Herr  Schack. 

Monostatos Herr  Gobl. 

Sarastro Herr  Schickaneder,  Sr. 

Papageno Herr  Schickaneder,  Jr. 

"  The  Magic  Flute  "  was  the  last  great  work  of  the  com- 
poser, and  followed  the  "  Cosi  fan  tutte,"  which  was  given  in 
January,  1791.     In  1780  Mozart  had  made  the  acquaintance 


200  THE    STANDARD    OPERAS 

of  Schickaneder  at  Salzburg.  He  was  a  reckless,  dissipated 
theatre  manager,  and  at  the  time  of  the  composition  of  "  The 
Magic  Flute  "  was  running  a  small  theatre  in  Vienna.  The 
competition  of  the  larger  theatres  had  nearly  beggared  him, 
and  in  the  midst  of  his  perplexities  he  applied  to  Mozart  to 
write  him  an  opera,  and  intimated  that  he  had  discovered  an 
admirable  subject  for  a  fairy  composition.  Mozart  at  first 
objected,  but  Schickaneder,  like  himself,  was  a  Freemason, 
had  been  his  companion  in  dissipation,  and  exercised  a  great 
influence  over  him.  Mozart  at  last  consented.  A  compact 
was  made,  and  Schickaneder  set  to  work  on  the  libretto.  As 
he  was  a  popular  buffoon,  he  invented  the  part  of  Papageno, 
the  bird-catcher,  for  himself,  and  arranged  that  it  should  be 
dressed  in  a  costume  of  feathers.  It  is  a  trivial  part,  but 
Schickaneder  intended  to  tickle  the  fancy  of  the  public,  and 
succeeded.  The  first  act  was  finished,  when  it  was  found 
that  the  same  subject  had  been  chosen  by  a  rival  theatre,  the 
Leopoldstadt,  which  speedily  announced  the  opera  of  "  Kaspar 
der  Fagottist,  oder  die  Zauber-Zither,"  by  a  popular  composer, 
Wenzel  Miiller.  The  piece  had  a  successful  run,  and  in  order 
to  prevent  a  duplication,  Schickaneder  reversed  the  point  of  his 
story,  and  changed  the  evil  magician,  who  stole  the  daughter 
of  the  Queen  of  Night,  into  a  great  philosopher  and  friend  of 
man.  It  is  owing  to  this  change  that  we  have  the  magnificent 
character  of  Sarastro,  with  its  impressive  music. 

The  scene  of  the  opera  is  laid  in  Egypt.  Sarastro,  the  high 
priest  of  Isis,  has  induced  Pamina  to  leave  her  mother,  As- 
trifiamenti,  the  Queen  of  Night,  who  represents  the  spirit  of 
evil,  and  come  to  his  temple,  where  she  may  be  trained  in  the 
ways  of  virtue  and  wisdom.  At  the  opening  of  the  opera  the 
dark  Queen  is  trying  to  discover  some  plan  of  recovering  her 
daughter  and  punishing  Sarastro.  In  the  first  act  appears 
Tamino,  an  Egyptian  Prince,  who  has  lost  his  way,  and  is 
attacked  by  a  huge  serpent,  from  which  he  is  rescued  by  the 
three  attendants  of  the  Queen.  The  latter  accosts  him,  tells 
him  her  daughter's  story,  and  demands  that,  as  the  cost  of 
his  deliverance,  he  shall  rescue  her.  He  consents.  She  gives 
him  a  magic  flute,  and  with  his  companion  Papageno,  a  rollick- 


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MOZART  201 

ing  bird-catcher,  who  is  also  presented  with  a  magical  chime 
of  bells,  they  set  out  for  Sarastro's  temple.  Papageno  ar- 
rives there  first,  and  in  time  to  rescue  Pamina  from  the  per- 
secutions of  Monostatos,  a  slave,  who  flies  when  he  beholds 
Papageno  in  his  feather  costume,  fancying  him  the  devil. 
They  seek  to  make  their  escape,  but  are  intercepted.  Tamino 
also  is  caught,  and  all  are  brought  before  Sarastro.  The 
Prince  consents  to  become  a  novitiate  in  the  sacred  rites,  and 
to  go  through  the  various  stages  of  probation  and  purification, 
and  Pamina  again  returns  to  her  duties.  They  remain  faith- 
ful to  their  vows,  and  the  last  ordeal,  that  of  passing  through 
a  burning  lake  up  to  the  altar  of  the  temple,  is  triumphantly 
accomplished.  The  Queen  of  Night,  however,  does  not  aban- 
don her  scheme  of  revenge.  She  appears  to  Pamina  in  her 
sleep,  gives  her  a  dagger,  and  swears  that  unless  she  murders 
Sarastro  she  will  cast  her  off  forever.  Pamina  pays  no  heed 
to  her  oath,  but  goes  on  with  her  sacred  duties,  trusting  to 
Sarastro's  promise  that  if  she  endures  all  the  ordeals  she  will 
be  forever  happy.  In  the  closing  scene,  Monostatos,  who  has 
been  inflamed  against  Sarastro  by  the  Queen,  seeks  to  kill 
him,  but  is  vanquished  by  the  might  of  the  priest's  presence 
alone.  The  night  of  the  ordeals  is  over.  At  a  sign  from 
Sarastro,  the  full  sunlight  pours  in  upon  them.  The  evil 
spirits  all  vanish,  and  Tamino  and  Pamina  are  united  amid 
the  triumphant  choruses  of  the  priests  and  attendants,  as  the 
reward  of  their  fidelity. 

In  the  opening  scene,  after  the  encounter  of  Tamino  with 
the  serpent,  Papageno  has  a  light  and  catching  song  ("  Der 
Vogelf anger  bin  ich  ja  "),  which,  like  all  of  Papageno's  music, 
was  specially  written  for  Schickaneder,  and  has  been  classed 
under  the  head  of  the  "  Viennese  ditties."  Melodious  as 
Mozart  always  is,  these  songs  must  be  regarded  as  concessions 
to  the  buffoon  who  sang  them.  Papageno's  song  is  followed 
by  another  in  a  serious  strain  ("  Dies  Bildniss  ist  bezaubernd 
schon")  sung  by  Tamino.  In  the  sixth  scene  occurs  the  first 
aria  for  the  Queen  of  Night  ("  O  zittre  nicht,  mein  lieber 
Sohn  "),  which,  like  its  companion  to  be  mentioned  later,  is 
a  remarkable  exercise  in  vocal  power,  range,  and  gymnastics. 


202  THE    STANDARD    OPERAS 

written  for  an  exceptional  voice.  The  next  scene,  known  as 
the  Padlock  Quintet,  is  very  simple  and  flowing  in  style,  and 
will  always  be  popular  for  its  humorous  and  melodious  char- 
acter. In  the  eleventh  scene  occurs  the  familiar  duet  between 
Pamina  and  Papageno  ("Bei  Mannern,  welche  Liebe  fiihlen"), 
which  has  done  good  service  for  the  church,  and  will  be  rec- 
ognized in  the  English  hymn  version,  "Serene  I  laid  me  down." 
It  leads  up  to  the  finale,  beginning,  "  Zum  Ziele  fiihrt  dich 
diese  Bahn,"  and  containing  a  graceful  melody  for  Tamino 
("  O  dass  ich  doch  im  Stande  ware  "),  and  another  of  the 
Viennese  tunes  ("  Konnte  jeder  brave  Mann")  —  a  duet  for 
Papageno  and  Pamina,  with  chorus. 

The  second  act  opens  with  a  stately  march  and  chorus  by 
the  priests,  leading  up  to  Sarastro's  first  great  aria  ("  O  Isis 
und  Osiris  "),  a  superb  invocation  in  broad,  flowing  harmony, 
and  the  scene  closes  with  a  strong  duet  by  two  priests 
("  Bewahret  euch  vor  Weibertiicken  ").  The  third  scene  is 
a  quintet  for  Papageno,  Tamino,  and  the  Queen's  three  at- 
tendants ("  Wie  ihr  an  diesem  Schreckensort ?  "),  and  is  fol- 
lowed by  a  sentimental  aria  by  Monostatos  ("  Alles  fiihlt  der 
Liebe  Freuden  ").  In  the  next  scene  occurs  the  second  and 
greatest  aria  of  the  Queen  of  Night  ("  Der  Holle  Rache 
kocht  "),  which  was  specially  written  to  show  off  the  bravura 
ability  of  the  creator  of  the  part,  and  has  been  the  despair 
of  nearly  all  sopranos  since  her  time.  In  striking  contrast 
with  it  comes  the  majestic  aria  for  Sarastro  in  the  next  scene 
("  In  diesen  heil'gen  Hallen  "),  familiarly  known  on  the  con- 
cert stage  by  its  English  title,  "  In  these  sacred  Halls,"  the 
successful  performance  of  which  may  well  be  the  height  of  any 
basso's  ambition.  In  the  twelfth  scene  there  is  a  terzetto  by 
the  three  boys  ("  Seid  uns  zum  zweitenmal  "),  and  in  the  next 
scene  a  long  and  florid  aria  for  Pamina  ("  Ach !  ich  fiihl's 
es  ist  verschwunden "),  full  of  plaintive  chords  and  very 
sombre  in  color.  The  sixteenth  scene  contains  another  stately 
chorus  of  priests  ("  O  Isis  und  Osiris  "),  based  upon  a  broad 
and  massive  harmony,  which  is  followed  by  a  terzetto  between 
Sarastro,  Pamina,  and  Tamino  ("  Soil  ich  dich,  Theurer,  nicht 
mehr  sehen.''  ").    Once  more  a  concession  to  the  buffoon  occurs 


MOZART  203 

in  a  melody  ("  Ein  Madchen  oder  Weibchen  "),  which  would  be 
commonplace  but  for  Mozart's  treatment  of  the  simple  air. 
The  finale  begins  with  another  terzetto  for  the  three  boys 
("Bald  prangt,  den  Morgen  zu  verkiinden  " ) .  It  may  be 
termed  a  finale  of  surprises,  as  it  contains  two  numbers  which 
are  as  far  apart  in  character  as  the  poles,  —  the  first,  an  old 
choral  melody  ("  Der,  welcher  wandelt  diese  Strasse  "),  the 
original  being,  "  Christ,  our  Lord,  to  Jordan  came,"  set  to  an 
accompaniment,  strengthened  by  the  trombones  and  other  wind 
instruments;  and  the  second,  a  nonsense  duet  ("  Pa-pa- 
Papageno  ")  for  Papageno  and  Papagena,  which  would  close 
the  opera  in  a  burst  of  childish  hilarity  but  for  the  solemn 
concluding  chorus  of  the  priests  ("Heil  sei  euch  Geweihten"). 
The  great  charm  of  the  opera  is  its  originality,  and  the 
wonderful  freshness  and  fruitfulness  of  the  composer  in  giv- 
ing independent  and  characteristic  melodies  to  every  character, 
as  well  as  the  marvellous  combination  of  technicality  with 
absolute  melody.  Beethoven  said  of  it  that  this  was  Mozart's 
one  German  opera  in  right  of  the  style  and  solidity  of  its 
music.  Jahn,  in  his  criticism,  says :  "  '  The  Zauberflote  '  has 
a  special  and  most  important  position  among  Mozart's  operas. 
The  whole  musical  conception  is  pure  German,  and  here  for 
the  first  time  German  opera  makes  free  and  skilful  use  of 
all  the  elements  of  finished  art." 


NESSLER    (VICTOR   E.) 

The  Trumpeter  of  Sdkkingen 

DER  Trompeter  von  Sakkingen  "  ("  The  Trumpeter  of 
Sakkingen  "),  opera  comique  in  a  prelude  and  three 
acts,  text  by  Rudolph  Bunge,  was  first  produced  at  the  Stadt 
Theatre,  Leipzig,  May  4,  1884-,  and  in  this  country  by  the 
New  York  Metropolitan  Opera  Company,  November  23,  1887. 
The  scene  is  laid  in  Sakkingen,  on  the  Rhine,  in  1650,  near  the 
close  of  the  Thirty  Years'  War.  Few  operas  have  had  the 
advantage  of  such  an  excellent  book  as  Nessler's  "  Trumpeter 
of  Sakkingen,"  and  few  light  operas  have  had  their  stories  so 
legitimately  and  skilfully  illustrated  with  music.  The  text  is 
based  upon  the  metrical  romance  of  Victor  von  Scheffel's 
"  Trompeter  von  Sakkingen,"  known  and  admired  all  over 
Germany,  which  tells  the  story  of  the  young  Werner  and  the 
fair  Margaretha,  their  romantic  wooing  and  final  union.  The 
time  is  near  the  close  of  the  Thirty  Years'  War,  and  the  hero 
is  Werner  Kirchoff,  a  handsome,  dashing  young  student,  who, 
with  others  of  his  comrades,  is  expelled  from  the  University 
of  Heidelberg  because  of  their  frequent  carousals.  They  join 
a  body  of  troopers,  Werner  in  the  capacity  of  a  trumpeter, 
and  go  with  them  to  Sakkingen.  While  there  he  has  the  good 
fortune  to  protect  Margaretha,  on  a  saint's  fete  day,  from  the 
rudeness  of  some  Hauenstein  peasants  who  are  ready  for  a 
revolt  against  the  Baron  von  Schoenau,  her  father.  Mar- 
garetha, who  is  in  company  with  the  Countess  Wildenstein, 
a  cousin  of  the  Baron,  who  has  separated  from  her  husband, 
gratefully  gives  Werner  a  forget-me-not.  The  Countess  in- 
quires his  name  of  his  trooper  comrade,  Conradin,  and  is 
struck  with  his  resemblance  to  her  son  who  had  been  carried 
off  by  gypsies  in  his  childhood.     In  the  next  scene  the  Baron 


NESSLER  205 

has  received  a  letter  from  Count  Wildenstein^  in  which  he 
states  that  his  second  wife  has  died,  that  he  wishes  to  settle 
the  misunderstanding  with  his  first  wife,  the  Countess,  and 
proposes  Damian,  his  son  by  the  second  marriage,  as  a  hus- 
band for  Margaretha,  —  a  proposal  which  the  Baron  promptly 
accepts.  When  Margaretha  enters  and  tells  of  her  adven- 
tures with  Werner,  the  Baron  regrets  that  his  old  trumpeter, 
Rassmann,  is  not  alive  to  summon  assistance  from  the  city 
in  case  of  attack  by  the  peasants.  Margaretha  tells  him  of 
Werner,  and  notwithstanding  the  Countess'  objections,  he 
gives  the  position  to  him. 

The  second  act  opens  with  a  love  scene  between  Werner 
and  Margaretha,  which  is  discovered  by  the  Countess,  who 
at  once  informs  the  Baron.  When  Werner  asks  him  for  the 
hand  of  Margaretha,  he  not  only  refuses  it,  but  orders  him 
to  leave  the  castle.  Werner  takes  his  farewell  of  Margaretha, 
and  leaves  for  his  old  position  with  the  troopers  in  the  city. 
Meanwhile  the  Count  of  Wildenstein  arrives  with  Damian, 
but  he  makes  no  impression  upon  Margaretha  notwithstand- 
ing the  Baron's  favor. 

In  the  last  act  the  denouement  comes  quickly.  The  peas- 
ants attack  the  castle,  and  the  Baron  calls  upon  Damian  to 
head  his  retainers  and  go  out  to  meet  the  mob.  He  proves 
himself,  however,  an  arrant  coward,  and  in  the  midst  of  his 
irresolution  Werner  rides  up  at  the  head  of  his  troopers, 
performs  prodigies  of  valor,  and  saves  the  inmates  of  the 
castle.  A  birthmark  upon  his  arm  reveals  him  as  the  long- 
lost  son  of  the  Countess,  and  nothing  now  stands  in  the  way 
of   Margaretha's   and  Werner's   felicity. 

In  the  prelude  and  first  act  the  most  noticeable  numbers 
are  the  students'  and  troopers'  choruses,  written  in  the  best 
German  style  —  the  prelude  indeed  is  almost  entirely  choral ; 
the  peasants'  choruses  and  lively  dances  on  St.  Fridolin's 
Day;  the  characteristic  growl  of  the  Baron  over  his  gout 
and  the  unreasonable  peasants;  and  the  charming  lyric  sung 
by  Margaretha  ("  How  proud  and  grand  his  Bearing").  The 
most  conspicuous  numbers  in  the  second  act  are  a  lyric,  sung 
by  Werner  ("  On  Shore  I  played  me  a  merry  Tune  ")  ;    the 


206  THE    STANDARD    O^KKAS 

love  scene  between  Margaretha  and  Werner  ("  Sun,  has  thy 
Light  not  grown  in  Splendor?");  the  dramatic  quintet 
("  Must  so  soon  the  Sunshine  vanish?  ")  ;  and  Werner's  senti- 
mental and  beautiful  farewell  ("  Oh,  it  is  sad  that  in  this  Life 
below").  The  principal  numbers  of  the  third  act  are  Mar- 
garetha's  song  ("  My  Love  rode  out  to  the  wide,  wide 
World  ")  ;  the  May  song  ("  There  comes  a  Youth  of  sweet 
Renown  ")  ;  the  pantomime  and  dance  composing  a  May  idyl; 
the  duet  for  Margaretha  and  Werner  ("True  Love,  I  give 
thee  Greeting");  and  the  ringing  mass  chorus  ("Faithful 
Love  and  Trumpet  blowing"),  which  closes  the  opera. 


NICOLAI    (OTTO) 

The  Merry  Wives  of  Windsor 

"  r  llHE  Merry  Wives  of  Windsor,"  opera  comique,  in  three 
X  acts,  text  by  Mosenthal,  was  first  produced  in  Berlin, 
March  9,  1849;  in  London,  May  3,  1864;  in  New  York, 
April  27,  1863.  The  story  of  the  opera  follows  closely  that 
of  the  Shakespearean  comedy,  though  the  action  is  principally 
concerned  with  Falstaff's  adventures  with  the  merry  wives, 
the  attachment  between  Fenton  and  Anne  furnishing  the 
romantic  incident.  Though  the  work  of  a  German,  the  music 
is  largely  in  the  Italian  style,  and  the  dramatic  finish  is 
French.  It  is  unnecessary  to  indicate  the  plot  in  further 
detail  than  to  say  it  includes  the  receipt  of  Sir  John's  amatory 
epistles  by  Mrs.  Ford  and  Mrs.  Page,  his  concealment  among 
the  foul  linen  in  the  hamper  and  subsequent  sousing  in  the 
Thames,  his  sad  experiences  with  Ford's  cudgels,  and  his 
painful  encounter  with  the  mock  fairies,  elves,  and  other 
sprites  in  Windsor  Park. 

The  leading  numbers  in  the  opera  are  a  duet  for  the  two 
merry  wives,  opening  the  opera,  in  which  they  read  Falstaff's 
letters  ("  No,  no,  this  really  is  too  bad  "),  closing  with  an 
exquisitely  humorous  phrase  as  they  pronounce  the  name  of 
the  writer  in  unison;  a  beautiful  little  aria  ("Joking  and 
Laughter  "),  in  the  Italian  style,  sung  by  Mrs.  Ford;  and  the 
finale  to  the  first  act,  beginning  with  a  serio-comic  aria  in 
which  Mrs.  Ford  bewails  her  husband's  jealousy,  followed  by 
a  sextet  and  chorus,  and  closing  with  a  highly  dramatic  aria 
in  which  Mrs.  Ford  changes  from  grief  to  rage  and  violently 
denounces  Ford. 

The   second   act  opens   with   a  drinking-song  for  Falstaff 


208  THE    STANDARD    OPERAS 

("Whilst  yet  a  Child  on  my  Mother's  Breast"),  which,  as  well 
as  the  accessories  of  the  song,  is  full  of  rollicking,  bacchana- 
lian humor.  Falstaff  sings  one  verse,  and  his  followers  drain 
their  huge  mugs  to  the  bottom.  One  of  them  falls  senselessly 
drunk,  and  is  immediately  borne  out  upon  the  shoulders  of 
his  comrades  with  funereal  honors,  led  off  by  Falstaff,  all 
chanting  a  sort  of  mock  dirge.  A  descriptive  and  spirited 
buffo  duet  between  Falstaff  and  Ford  follows,  in  which  the 
former  relates  his  adventures  in  the  hamper.  The  only  re- 
maining number  of  consequence  in  this  act  is  the  romanza 
("  Hark,  the  Lark  in  yonder  Grove  "),  sung  by  Fenton.  The 
last  act  is  very  short,  and  made  up  of  a  beautiful  trio  for  Mrs. 
Ford,  Mrs.  Page,  and  Falstaff  ("  The  Bell  has  pealed  the 
Midnight  Chime");  the  romantic  ballad  ("Of  Heme,  the 
Hunter,  a  Legend  old  "),  and  the  fairy  dance  and  chorus 
("  About,  about,  ye  Elves,  about  "),  which  closes  the  opera. 


NOUGES   (JEAN) 

Quo  Vadis 

THE  historical  opera,  "  Quo  Vadis,"  music  by  Jean  Nouges, 
text  by  Henri  Cain,  founded  upon  Sienkiewicz's  story 
of  the  same  name,  had  its  American  premiere  at  Philadelphia, 
March  25,  1911,  with  the  following  cast: 

Eunice Lilian  Grenville. 

Lygie Alice  Zeppili. 

Poppea Eleonora  di  Cisnero. 

Peironius Maurice  Renaud. 

Vicinius Charles  Dalmores. 

Chilon Hector  Dufranne. 

Nero ViTTORio  Arimondi. 

Pierre     Gtjstave  Huberdeau. 

The  part  of  Ursus,  the  giant,  and  Croton,  the  gladiator, 
were  taken  respectively  by  Walter  and  Arthur  Wheeler,  local 
society  athletes. 

The  opera  is  arranged  in  five  acts  and  six  scenes  and  the 
story  follows  that  of  the  book,  though  in  an  episodical  rather 
than  continuous  style.  The  scene  of  the  first  act  is  laid  in 
the  gardens  of  Petronius,  the  Beau  Brummel  of  his  day. 
Eunice  and  Iras,  two  Grecian  slave  girls,  are  decorating  the 
statue  of  Venus.  While  thus  engaged  Chilon,  a  mendicant 
philosopher,  enters  with  the  announcement  that  he  has  jewels 
which  will  enable  them  to  see  into  the  future.  During  their 
conversation  Chilon  discovers  that  Eunice  secretly  loves  Pe- 
tronius, her  master.  The  latter  soon  appears  with  his  nephew, 
Vicinius,  a  young  Roman  warrior.  Vicinius  informs  his  uncle 
that  since  he  has  returned  to  Rome  he  has  fallen  in  love  with 
Lygie,  a  beautiful  girl  he  has  seen  at  the  bath,  but  he  has  been 
unable  to  find  her.    Chilon  offers  his  services  and  declares  that 


210  THE    STANDARD    OPERAS 

Lygie  is  a  hostage^  guarded  in  Rome  by  Ursus^  a  giant,  her 
slave.  Vicinius  says  that  when  the  girl  fled  she  left  a  mys- 
terious design  of  a  fish,  the  meaning  of  which  Chilon  agrees 
to  decipher.  Petronius  meanwhile  offers  to  induce  Nero  to 
have  Lygie  in  attendance  at  the  festival  to  Venus  on  the 
following  night. 

The  second  act  reveals  the  terrace  of  Nero's  palace.  In 
the  midst  of  the  revels  Poppsea,  the  Empress,  is  disturbed 
by  jealousy,  thinking  that  Lygie  is  her  rival,  but  is  consoled 
by  Petronius,  who  assures  her  Lygie  was  brought  there  for 
his  nephew.  As  the  guests  withdraw  inside  the  palace  a  love 
scene  ensues  between  Vicinius  and  Lygie,  in  the  course  of 
which  she  declares  his  suit  is  hopeless  as  they  are  not  of 
the  same  faith.  Thereupon  Vicinius  seizes  her  in  his  arms, 
but  is  knocked  senseless  by  Ursus,  who  carries  the  girl  away. 

The  third  act  transpires  on  the  bank  of  the  Tiber.  Chilon 
has  discovered  that  the  mysterious  fish  is  the  password  of  the 
Christians,  who  gather  at  a  certain  spot  at  night  for  worship. 
Pierre  (the  Apostle  Paul)  is  among  them,  and  at  the  end  of 
the  services  Pierre  and  Lygie  are  alone.  She  tells  him  of  her 
love  for  Vicinius  but  thinks  it  a  sin.  Chilon  reappears  with 
Vicinius  and  Croton,  a  gladiator,  who  has  been  hired  to  kid- 
nap Lygie.  In  making  the  attempt,  however,  a  terrible  cry 
is  heard,  and  Ursus  emerges  from  the  house  bearing  Croton, 
whose  back  he  has  broken  and  whose  body  he  throws  into  the 
Tiber,  Chilon  flees,  muttering  threats  of  revenge  against  the 
Christians. 

The  opening  scene  of  the  fourth  act  discloses  the  Christians 
in  the  subterranean  dungeons  of  the  Coliseum,  whence  they 
are  to  be  taken  out  and  slaughtered.  Vicinius,  who  has  be- 
come a  Christian,  has  bribed  the  guard  and  come  to  rescue 
Lygie.  The  scene  in  the  arena  follows.  Nero  announces 
that  Ursus  will  have  a  combat  with  a  bull  bearing  Lygie 
bound  to  its  horns.  Ursus  is  successful  and  demands  of  Nero 
her  release  as  his  prize,  when  Vicinius  rushes  into  the  arena, 
claims  her  as  his  own,  and  carries  her  away.  The  furious 
Emperor  thereupon  orders  the  slaughter  of  the  Christians, 
upon   the   charge   that  they   have  burned   Rome.      Chilon,   in 


NOUGES  211 

remorse,  denounces  Nero  as  the  real  incendiary,  whereupon  the 
Emperor  orders  that  his  tongue  shall  be  torn  out.  While  the 
order  is  being  executed  the  people  rise  in  revolt  and  Nero 
flies  in  terror. 

The  last  act  takes  place  in  Petronius'  garden.  The  Arbiter, 
sick  of  life,  has  resolved  to  commit  suicide.  He  invites  his 
friends  for  a  final  banquet  and  sends  a  letter  to  Nero,  ridi- 
culing him  for  his  cowardice  and  folly.  Vicinius  and  Lj^gie 
entreat  him  to  go  with  them  to  Sicily,  but  he  declines,  where- 
upon they  leave.  Petronius  tells  Eunice  he  has  left  everything 
to  her,  but  she  replies  she  will  die  with  him.  He  assents, 
and,  singing  a  hymn  to  Hesperus,  they  die  together  upon  a 
bed  of  roses. 

The  opera  is  spectacular  throughout  and  the  music  may 
well  be  characterized  as  theatrical.  It  has  few  set  melodies 
of  the  conventional  kind,  and  is  often  reminiscent  of  Wagner, 
Massenet,  and  Puccini,  and  yet  is  hardly  liable  to  the  charge 
of  unoriginality.  The  orchestration  is  particularly  effective 
and  withal  simple  when  the  dramatic  character  of  the  inci- 
dents is  considered.  The  strings  and  woodwinds  indeed  are 
most  freely  used,  and  even  in  the  tumultuous  scenes  in  the 
arena  little  use  is  made  of  the  brass  and  percussion  instru- 
ments, where  they  would  naturally  be  expected.  The  best 
numbers  are  the  aria  of  Eunice,  and  Petronius'  aria  at  the 
close  of  the  first  act,  in  which  he  foreshadows  the  time  when 
he  shall  denounce  Nero;  the  dance  music  of  the  second  act; 
the  music  in  the  first  scene  of  the  third  act,  including  the 
prayer  of  the  Christians,  and  the  aria  in  which  Pierre  coun- 
sels his  followers ;  and  the  love  duet  by  Petronius  and  Eunice 
in  the  last  act. 


OFFENBACH    (JACQUES) 

The  Grand  Duchess  of  Gerolstein 

THE  Grand  Duchess  of  Gerolstein/'  opera  bouffe  in 
three  acts,  text  by  Meilhac  and  Halevy,  was  first  pro- 
duced at  the  Varietes,  Paris,  April  12,  1867.  The  scene  is 
laid  in  the  imaginary  duchy  of  Gerolstein,  in  the  year  1720. 
"  The  Grand  Duchess  of  Gerolstein,"  though  in  some  respects 
inferior  musically  to  "  Orpheus,"  by  the  same  composer,  is 
altogether  the  most  perfect  type  of  the  opera  bouffe.  For  the 
drollness  of  its  story,  the  originality  of  its  characters  as  well 
as  of  its  music,  its  obstreperous  gayety,  dash,  and  geniality 
mixed  with  occasional  seriousness  and  grace,  this  work  when 
it  first  appeared  was  unique,  though  Offenbach  rose  to  his 
highest  achievement  when  dealing  with  the  gods  and  goddesses 
of  Olympus  in  his  "  Orpheus,"  which  revealed  his  powers  of 
musical  burlesque  at  their  best. 

The  first  act  opens  with  a  grand  review  of  the  army  of 
the  duchy,  commanded  by  the  pompous  General  Boum,  at 
which  the  Duchess  is  present.  In  its  ranks  there  is  a  recruit, 
known  by  the  name  of  Fritz,  who  has  already  aroused  the 
General's  jealousy  by  his  attentions  to  Wanda,  a  peasant  girl. 
He  continues  still  further  to  add  to  this  jealousy  when  the 
Duchess,  attracted  by  his  good  looks,  singles  him  out  for  her 
regard  and  promotes  him  to  the  post  of  corporal.  When  she 
learns  of  his  relations  to  Wanda,  she  raises  him  to  the  rank 
of  lieutenant,  evidently  to  separate  him  from  Wanda  by  the 
new  elevation.  The  review  over,  the  Duchess  studies  the  plan 
of  a  pending  campaign  against  a  neighboring  enemy.  She 
summons  General  Boum  in  the  presence  of  Baron  Puck,  her 
court  chamberlain.  Prince  Paul,  a  feeble  and  neglected  suitor 


Mine.  Schneider  as  La  Grande  Dtichesse 


OFFENBACH  213 

of  the  Duchess,  and  Lieutenant  Fritz,  who  is  now  her  special 
bodyguard,  and  asks  him  for  his  plan  of  campaign,  which  he 
states,  much  to  the  disgust  of  P'ritz,  who  declares  it  to  be 
sheer  nonsense.  The  Duchess  then  asks  the  latter  for  his  plan, 
and  is  so  much  pleased  with  it  that  she  appoints  him  general 
and  raises  him  to  the  rank  of  baron,  much  to  the  discomfort 
and  indignation  of  the  others. 

The  second  act  opens  with  the  return  of  Fritz.  He  has 
been  victorious,  and  at  the  public  reception  given  him  he  tells 
the  story  of  his  adventures.  Subsequently,  at  a  tete-a-tete 
with  the  Duchess,  she  makes  open  love  to  him;  but  he  is  so 
occupied  with  thoughts  of  Wanda  that  he  is  insensible  to  all 
her  advances,  which  puts  her  in  a  rage.  Overhearing  a  con- 
spiracy between  Puck,  Paul,  and  the  deposed  General  Boum 
against  his  life,  she  joins  with  them,  and  the  act  closes  with 
a  wild,  hilarious  dance. 

In  the  third  act  Baron  Grog,  emissary  of  Prince  Paul's 
father,  appears  upon  the  scene  to  expedite  the  marriage  of  the 
Prince  to  the  Duchess.  He  joins  the  conspiracy  against  Fritz, 
and  so  ingratiates  himself  with  the  Duchess  that  she  finally 
consents  to  marry  the  Prince.  In  the  meantime  she  counter- 
mands the  order  for  Fritz's  assassination,  and  gives  him  per- 
mission to  marry  Wanda.  The  conspirators,  however,  play  a 
practical  joke  upon  Fritz  by  a  false  message  summoning  him 
to  the  battlefield.  He  leaves  at  once  on  the  wedding-night,  but 
through  the  connivance  of  General  Boum  is  waylaid  and  badly 
beaten.  While  the  betrothal  of  the  Duchess  is  being  cele- 
brated, Fritz  returns  in  sad  plight,  with  the  sabre  which  the 
Duchess  had  given  him  in  a  battered  condition.  She  adds  to 
his  misfortunes  by  depriving  him  of  his  command  and  bestow- 
ing it  upon  Baron  Grog,  but  learning  that  he  has  a  family, 
she  reinstates  General  Boum.  In  the  denouement  Fritz  is 
restored  to  his  Wanda  and  the  Duchess  marries  Prince  Paul. 

The  music  is  in  keeping  with  the  drollery  of  the  situations, 
and  abounds  in  vivacity  and  odd  descriptiveness,  defying  all 
accepted  laws  and  adapting  itself  to  the  grotesquerie  and  ex- 
travagance of  the  action.  The  principal  numbers  in  the  first 
act  are  the  pompous  "  Pif,  paf,  pouf  "  song  of  General  Boum; 


214  THE    STANDARD    OPERAS 

the  Grand  Duchess's  air  ("Ah!  que  j'aime  les  Militaires  ")  ; 
the  regiment  song  for  her  and  Fritz  ("Ah!  e'est  un  fameux 
Regiment  ")  ;  the  couplets  of  Prince  Paul  ("  Pour  epouser  une 
Princesse  ")  ;  and  the  famous  sabre  song  ("  Voici,  le  Sabre  de 
mon  Pere  ").  The  best  numbers  of  the  second  act  are  Fritz's 
spirited  rondo  ("  En  tres  bon  Ordre  nous  partimes  "),  in  which 
he  tells  the  stor}'^  of  his  victor}^;  the  romanza  ("  Dites  lui  "), 
a  delightful  little  song,  and  so  refined  that  it  hardly  seems  to 
belong  to  the  opera;  and  the  conspirators'  trio  ("Max  etait 
Soldat  de  Fortune  "),  which  is  irresistible  in  its  broad  humor 
and  queer  rhythms.  The  musical  interest  really  reaches  its 
climax  in  the  second  act.  Outside  of  the  chorus  work  in  the 
third  act  there  is  little  of  interest  except  the  Duchess's  ballad 
("  II  etait  un  de  mes  Aieux  "),  and  Fritz's  song  to  the  Duchess 
("  Eh  bien,  Altesse,  me  voila!  "). 


La  Belle  Helene 

"  La  Belle  Helene/'  opera  bouffe  in  three  acts,  text  by  De 
Meilhac  and  Halevy,  was  first  produced  at  the  Theatre  des 
Varietes,  December  17,  1864.  In  "  La  Belle  Helene  "  Offen- 
bach goes  back  to  the  mythical  period,  and  presents  the  heroes 
of  the  time  of  Helen  and  Paris  in  modern  burlesque.  The  first 
act  opens  at  the  temple  of  Jupiter  in  Sparta,  where,  among 
others  who  have  placed  their  offerings  at  his  shrine,  is  Helen. 
When  alone  with  Calchas,  the  augur,  they  discuss  some  means 
of  avoiding  the  decree  of  the  oracle  which  has  declared  she  is 
to  leave  Menelaus,  her  husband,  and  flee  with  Paris,  son  of 
Priam,  to  Troy.  Before  a  decision  is  reached,  Paris,  dis- 
guised as  a  shepherd,  arrives,  and  soon  he  and  Helen  are 
lovers.  They  meet  again  in  a  grand  tournament  in  which  the 
two  A j axes,  Achilles,  Agamemnon,  and  others  announce  them- 
selves in  the  most  comic  fashion  and  guess  at  conundrums  for 
a  prize.  Paris  wins,  and  proclaims  his  name  and  lineage,  to 
the  joy  of  Helen,  whose  delight  is  still  further  enhanced  when 
the  oracle  orders  Menelaus  to  set  off  at  once  for  Crete. 

In  the  second  act  Helen  struggles  against  the  decrees  of 


OFFENBACH  215 

Venus.  Paris  has  an  interview  with  her,  but  she  will  not 
yield,  and  he  retires.  By  the  aid  of  Calchas  he  secures  ad- 
mission to  the  chamber  of  the  slumbering  Queen,  when  Mene- 
laus  suddenly  returns  and  an  altercation  ensues,  during  which 
Paris  defies  all  the  Grecian  heroes,  and  Helen  philosophically 
informs  Menelaus  he  should  have  announced  his  coming  be- 
forehand.    Paris  again  retreats,  and  Helen  is  now  in  despair. 

In  the  third  act  Helen  and  Menelaus  have  a  family  quarrel, 
and  he  charges  her  with  being  false.  She  denies  it,  and  de- 
clares he  has  been  dreaming.  Calchas  now  appears,  and 
announces  that  a  new  augur  has  been  appointed  and  is  on  his 
way  there.  A  golden  galley  is  seen  approaching,  and  the 
augur  is  found  to  be  Paris  himself.  He  brings  word  that 
Venus  is  angry  at  what  has  been  going  on,  but  will  relent  if 
Helen  will  return  with  him  to  her  shrine  and  sacrifice  white 
heifers.  She  is  reluctant  to  go,  but  finally  decides  to  obey  the 
voice  of  destiny,  and  sails  away  with  him,  leaving  all  behind 
in  grief  and  Menelaus  in  rage. 

The  dialogue  of  "  La  Belle  Helene  "  is  very  witty,  though 
coarse  at  times,  and  many  of  the  situations  are  full  of  a 
humorous  incongruity  and  drollness  growing  out  of  the  at- 
tempt to  modernize  these  mythological  heroes.  The  music 
admirably  fits  the  text,  and  though  not  so  gay  as  that  of 
"  The  Grand  Duchess,"  yet  is  fresh,  original,  and  interesting 
throughout.  The  chief  -  numbers  of  the  work  are  Helen's 
passionate  song  of  mourning  for  Adonis  ("  Amours  divins  ")  ; 
Paris's  fable  ("  Au  Mont  Ida,  trois  Deesses  "),  in  which  he 
tells  the  well-known  apple  story ;  the  march  and  chorus 
("  Void  les  Rois  de  la  Grece  "),  in  which,  one  after  the  other, 
they  come  forward  and  announce  themselves  in  an  irresistibly 
funny  manner;  Helen's  mock  sentimental  song  ("  Nous  nais- 
sons  tou^es  Soucieuses  ")  ;  the  droll  goose  march  of  the  kings; 
a  fascinating  chorus  ("  En  Couronnes  tressons  Roses  ") ; 
Helen's  song  ("  Un  Mari  sage  "),  one  of  the  most  characteris- 
tic numbers  in  the  opera ;  and  in  the  last  act  Orestes's  song 
("  Malgre  cette  ardente  Flamme ") ;  the  spirited  trio 
("  Lorsque  la  Grece  est  un  Camp  de  Carnage  ")  ;  and  the  final 
chorus  ("  Que  notre  Colere  "),  which  preludes  the  Trojan  war. 


216  THE    STANDARD    OPERAS 

Orphee  aux  Enfers 

"  Orphee  aux  Enfers,"  opera  bouffe,  in  three  acts,  text  by 
Cremieux,  was  first  produced  at  the  Bouffes  Parisiens,  Paris, 
October  21,  1858.  The  best  musical  work  of  Offenbach  un- 
doubtedly is  to  be  found  in  his  "  Orphee  aux  Enfers,"  and  the 
text  which  his  librettist  furnished  him  is  in  keeping  with  the 
music.  It  was  a  bold  as  well  as  droll  conception  to  invest 
the  Olympian  gods  and  goddesses  with  human  attributes  and 
make  them  symbols  of  worldly  departments  of  action  and 
official  life,  to  parade  them  in  processions  like  the  ordinary 
street  pageant,  to  present  them  in  banquets,  to  dress  them 
in  the  most  fantastically  individual  manner,  and  to  make 
nineteenth-century  caricatures  of  the  whole  Olympian  coterie. 

The  first  scene  of  the  opera  discloses  Eurydice  in  the 
Theban  meadows  plucking  flowers  with  which  to  decorate  the 
cabin  of  Aristeus,  the  shepherd,  who  is  really  Pluto  in  dis- 
guise. Suddenly  Orpheus  appears,  not  with  his  tortoise-shell 
lyre,  but  playing  the  violin  and  serenading,  as  he  supposes,  a 
shepherdess  with  whom  he  is  in  love.  His  mistake  reveals  the 
fact  that  each  of  them  is  false  to  the  other,  and  a  violent 
quarrel  of  the  most  ludicrous  description  ensues,  ending  in 
their  separation.  He  goes  to  his  shepherdess,  she  to  her  shep- 
herd. Shortly  afterwards,  Aristeus  meets  Eurydice  in  the 
fields  and  reveals  his  real  self.  By  supernatural  power  he 
turns  day  into  night  and  brings  on  a  tempest,  in  the  midst  of 
which  he  bears  her  away  to  the  infernal  regions,  but  not  be- 
fore she  has  written  upon  Orpheus's  hut  the  fate  that  has 
overtaken  her.  When  Orpheus  returns  he  is  overjoyed  at  his 
loss,  but  in  the  midst  of  his  exultation,  Public  Opinion  appears 
and  commands  him  to  go  to  Olympus  and  demand  from  Jupi- 
ter the  restoration  of  his  wife.  Orpheus  reluctantly  obeys  the 
order. 

The  second  act  opens  in  Olympus,  where  the  gods  and  god- 
desses are  enjoying  a  nap,  from  which  they  are  awakened  by 
the  blasts  of  Diana's  horn.  Thereupon  much  slanderous  gossip 
is  circulated  amongst  them,  the  latest  news  discussed  being 
Pluto's  abduction  of  Eurydice.     Pluto  himself  shortly  comes 


OFFENBACH  217 

in,  and  is  at  once  taxed  by  Jupiter  with  his  unseemly  behavior, 
whereupon  Phito  retaliates  by  reference  to  Jupiter's  numerous 
amours  with  mortals.  This  arouses  the  jealousy  of  Juno. 
Venus,  with  Cupid's  assistance,  starts  a  veritable  riot,  which 
is  suddenly  interrupted  by  the  arrival  of  Orpheus  and  his 
guide.  Public  OiMnion.  He  demands  that  his  wife  shall  be 
restored  to  him,  and  Jupiter  not  only  consents,  but  agrees  to 
attend  to  the  matter  personally. 

The  third  act  finds  Eurydice  in  Hades,  carefully  guarded 
by  John  Styx.  Jupiter  is  faithful  to  his  promise,  and  soon 
arrives  there,  but  not  in  his  proper  person.  He  appears  in 
the  disguise  of  a  fly,  and  allows  Eurydice  to  catch  him,  after 
which  he  reveals  himself.  When  Pluto  comes  in,  he  finds  her 
transformed  into  a  bacchante  of  the  most  convivial  sort.  Other 
deities  make  their  appearance,  and  finally  Orpheus  comes  sail- 
ing up  the  Styx,  playing  his  violin,  and  demanding  of  Jupiter 
the  fulfilment  of  his  contract.  Jupiter  consents,  but  makes  the 
condition  that  he  shall  return  to  his  boat,  Eurydice  following 
him,  and  that  he  must  not  look  back.  Orpheus  sets  out,  but 
just  before  he  reaches  the  boat,  the  cunning  Jupiter  launches 
a  thunderbolt  after  him,  which  causes  him  to  turn  and  lose 
Eurydice,  much  to  the  disgust  of  Public  Opinion,  but  greatly 
to  the  edification  of  Orpheus,  who  is  now  at  liberty  to  return 
to  his  shepherdess  on  the  Theban  plain. 

The  most  striking  numbers  in  this  curious  travesty  are  the 
opening  aria  of  Eurydice,  as  she  gathers  the  flowers  ("  La 
Femme  dont  la  Coeur  reve  ")  ;  the  pastoral  sung  to  her  by 
Aristeus  ("  Voir,  voltiger  sous  les  Treilles  ")  ;  the  fascinating 
hunting-song  of  Diana  ("  Quand  Diane  descend  dans  la 
Plaine  ")  ;  the  characteristic  and  taking  song  of  John  Styx 
("  Quand  j'  etais  Roi  de  Beotie  "),  which  in  its  way  is  as  strik- 
ing as  the  sabre  song  in  "  The  Grand  Duchess  ";  Eurydice's 
delicate  fly-song  ("Bel  Insecte,  a  I'Aile  doree  ")  ;  the  drinking- 
song  in  the  infernal  regions  ("  Vive  le  Vin  ")  ;  and  Eurydice's 
vivacious  bacchanalian  song  which  immediately  follows  it 
("  J'ai  vu  le  Dieu  Bacchus  "). 


218  THE    STANDARD    OPERAS 

Les  Contes  de  Hoffmann 

"Les  Contes  de  Hoffmann"  ("Tales  of  Hoffmann"),  a 
lyric  opera  arranged  in  prologue,  three  acts  or  scenes,  and 
epilogue,  was  first  produced  in  Paris  in  1880.  The  libretto 
is  by  Jules  Barbier  and  is  based  upon  the  well-known  tales  by 
Hoffmann.  The  opera  is  a  remarkable  one  in  two  respects. 
First,  it  is  the  only  lyric  work  by  Offenbach,  all  his  other 
dramatic  compositions  being  extravaganzas  in  the  form  of 
opera  bouffe.  Second,  it  is  so  constructed  that  the  leading 
soprano  appears  in  four  different  roles,  those  of  the  mistresses 
of  Hoffmann,  and  the  leading  baritone  in  three,  those  of  Hoff- 
mann's enemies.     The  story  itself  is  unique. 

The  prologue  reveals  that  the  wealthy  Lindorf  is  in  love 
with  the  singer,  Stella,  with  whom  Hoffmann  had  also  been 
in  love  at  Milan.  When  she  once  more  sees  the  latter  her 
passion  for  him  is  rekindled  and  she  writes  him  a  letter  mak- 
ing an  appointment  to  meet  him.  By  bribery  Lindorf  secures 
this  letter  and  plots  to  make  Hoffmann  drunk  so  that  Stella 
will  be  disgusted  with  him.  Lindorf  succeeds,  and  Hoffmann 
while  intoxicated  tells  his  companions  the  story  of  his  three 
love  adventures. 

In  the  first  scene  Hoffmann  is  in  love  with  the  automaton, 
Olympia.  This  automaton  has  been  constructed  by  Spalan- 
zani,  aided  by  Coppelius,  and  is  exhibited  as  his  daughter. 
Ploffmann  is  so  enamoured  of  her  that  he  writes  her  a  letter 
making  an  appointment.  The  secret  of  the  irresponsive  au- 
tomaton is  revealed  to  him  by  Coppelius. 

The  second  scene  shows  the  beautiful  Giulietta  entertaining 
her  admirers  in  Venice,  the  favorite  among  them  being 
Schlemihl,  the  man  without  a  shadow.  Hoffmann  falls  vio- 
lently in  love  with  her.  His  enemy,  Dapertutto,  who  owns 
Schlemihl's  shadow,  connives  with  Giulietta  who  induces  Hoff- 
mann to  exchanjre  his  shadow  for  her  love.  She  then  violates 
her  promise  and  betrays  him  to  his  enemies. 

In  the  third  scene  the  inamorata  is  Antonie,  the  daughter 
of  Krespel,  Avhose  mother  had  been  a  famous  singer  and  whose 
death  was  occasioned  by  Dr.  Mirakel,  who  closely  resembles 


OFFENBACH  219 

the  character  of  Svengali.  As  Antonie  is  in  failing  health  her 
father  forbids  her  to  sing.  Hoffmann  falls  in  love  with  her, 
but  Krespel,  fearing  he  will  encourage  her  to  sing,  opposes 
his  suit.  In  this  juncture  a  quarrel  ensues  between  Krespel 
and  Dr.  Mirakel,  in  the  course  of  which  the  latter  summons 
the  spirit  of  the  mother,  who  requests  Antonie  to  sing.  She 
attempts  it  and  dies,  and  Hoffmann  thus  loses  his  bride. 

These  are  the  stories  which  Hoffmann  relates  in  his  intoxi- 
cated condition.  In  the  epilogue  he  sings  a  song  to  Stella 
and  he  is  left  with  his  bottle,  "  all  I  have  to  embrace." 

The  opera  is  replete  with  beautiful  melodies,  such  as  the 
drinking-songs,  the  love  song  of  Hoffmann,  the  waltz  move- 
ment of  the  automaton,  the  duet  between  Antonie  and  Hoff- 
mann, the  passionate  music  of  Antonie  in  her  death  scene, 
and  the  barcarole,  "  Fair  night,  O  night  of  love,"  one  of  the 
best  known  and  most  popular  of  all  of  Offenbach's  many 
popular  lyrics.  The  sorrowful  feature  of  this  opera  is  that 
Offenbach  did  not  live  to  hear  his  own  work  in  which  he  made 
so  wide  a  departure  from  his  opera  bouffe  style. 


« 


PADEREWSKI    (IGNACE    JAN) 

Manru 

MANRU,"  opera  in  three  acts,  text  by  Alfred  Nossig, 
was  first  produced  at  the  Court  Theatre,  Dresden,  May 
29,  ICOl,  with  the  following  cast: 

Manru Herr  Anthes. 

TJlana Frl.  Krull. 

Hedmg Frl.  von  Chavanne. 

Urok Herr  Scheidemantel. 

Asa       Frl.  Kammer. 

The  first  performance  in  this  country  was  given  in  New 
York,  February  14,  1902,  with  the  following  cast  of  the  above 
characters : 

Manru M.  von  Bandrowski. 

Ulana Mme.  Sembrich. 

Hedwig Mme.  Homer. 

Urok Mr.  Bispham. 

Asa Miss  Fritzi  Scheff. 

The  other  parts  were  cast  as  follows :  Landmddchen,  Mme. 
Van  Cauteren;    Oros,  Mr.  Muhlmann;    and  Jagu,  Mr.  Blass. 

The  libretto  of  "  Manru  "  is  based  upon  a  Polish  novel  by 
Kraszewski,  called  "  Chata  za  wsia,"  or  "  The  Cabin  behind 
the  Wood."  The  scene  is  laid  in  the  Tatra  Mountains  on  the 
border  of  Hungary,  In  a  hut  in  these  mountains  lives  Manru, 
a  gypsy,  who  has  abandoned  his  own  people  and  Asa,  his 
gypsy  love,  for  the  sake  of  Ulana,  daughter  of  Hedwig  and 
belle  of  the  village,  whom  he  has  married  and  taken  to  this 
lonely  spot.  She  also  has  been  disowned  by  her  people  and 
their  only  associate  is  Urok,  an  ugly  dwarf,  who  is  in  love 
with  Ulana.     Her  mother  promises  to  forgive  her  if  she  will 


Bispham  as  Urok 


Bandrowski  as  Maiiru 


Photos^  Copyrii^ht,  Aim^  Ditpotit 


Sembrich  as  Ulana 


PADEREWSKI  221 

leave  Manru,  but  she  refuses.  She  confesses  to  Urok  that 
Manru  is  growing  restless  and  she  fears  the  Wanderlust  has 
seized  him.  At  her  bidding  the  dwarf  mixes  an  herb  potion 
which  is  to  revive  Manru's  love. 

The  second  act  discloses  Ulana  rocking  her  child  in  the 
cabin.  Manru  is  at  work  in  his  smithy  and  Urok  is  taunting 
the  two.  While  bitterly  lamenting  that  he  ever  left  his  people 
and  longing  to  return  to  his  old  wandering  ways,  he  hears 
Jagu,  one  of  the  band,  approaching  and  playing  on  his 
violin  to  bring  him  back  to  his  band  and  to  Asa,  his  old  love. 
Manru  rushes  to  meet  him ;  Urok  appears  bringing  the  potion 
which  he  gives  to  Ulana;  Jagu  labors  with  Manru  and  begs 
him  to  return,  but  Manru  is  not  yet  ready,  however,  to  leave 
her,  and  Jagu  departs ;  subsequently  he  drinks  the  potion  and 
his  love  is  restored  for  the  time  at  least. 

In  the  last  act  the  old  desire  returns  stronger  than  ever. 
The  potion  is  no  longer  poAverful,  and  Manru  wanders  off 
into  the  mountains  to  find  his  people.  There  he  meets  Asa, 
who  urges  him  to  return  and  make  her  his  wife,  offering  him 
as  an  inducement  the  leadership  of  the  tribe  which  has  been 
assumed  by  Oros,  his  rival.  Ulana,  searching  for  him,  finds 
him  going  away  with  Asa,  and  throws  herself  into  the  lake. 
As  Oros  appears,  seeking  to  punish  his  rival,  who,  in  the 
meantime,  is  seeking  for  Ulana,  Urok  comes  up  behind  Manru 
and  pushes  him  into  the  lake,  where,  it  is  to  be  assumed,  his 
troubles  are  ended. 

The  opera  is  without  overture.  The  opening  scene  is  in- 
troduced by  a  brief,  plaintive  oboe  melody  preceding  a  very 
tender  chorus  of  peasants  ("  Windet  den  Kranz  ").  Indeed 
the  peasants'  choruses,  the  motive  of  which  is  contained  in 
the  recurring  phrase,  "  1st  der  Mond  am  Himmel  voll,  dann 
wird  der  Zigeuner  toll  "  ("  When  the  Moon  is  full  the  Gypsy 
runs  wild  "),  constitute  the  principal  material  of  the  act,  which 
closes  with  a  wild  gypsy  dance,  full  of  fascinating  melody  and 
haunting  rhythms. 

The  second  act  is  also  without  prelude.  Its  opening  scene 
is  a  powerful  one,  especially  in  the  duet  between  Manru, 
working  in  his   smithy    ("  Da   sitzt  sie   d'rin   und  wiegt   das 


222  THE    STANDARD    OPERAS 

Kind  ")  and  Ulana^  during  which  the  latter  sings  a  charming- 
lullaby  ("  Schlaf  wohl,  theures  Kind  ").  The  next  point  of 
interest  is  the  strange,  appealing  gypsy  strain  played  by  Jagu 
upon  his  violin  which  is  fascinating  in  its  rhythmic  effect. 
Then  follow  some  long  musical  declamations  leading  up  to  the 
love  duet  closing  the  act  ("  Wie  im  Sonnenscheine  ")  which  is 
full  of  passionate  energy. 

There  is  a  strong  symphonic  prelude  to  the  last  act  de- 
scriptive of  the  tempest  raging  in  Manru's  soul  which  has 
much  musical  as  well  as  poetical  significance.  The  remaining 
numbers  of  the  highest  importance  in  this  act  are  the  gypsy 
march  and  choruses;  what  might  be  called  Asa's  Temptation 
scene  or  scenes  abounding  in  Tzigane  music  with  its  marked 
rhj^thm  and  weird  effects,  in  which  the  gypsy  dulcimer  plays 
its  part;  and  the  furious  hurly-burly  of  the  double  tragedy 
at  the  close,  which  ends  this  orgy  of  jealousy,  hate,  and 
passion. 


Horatio  W.  Parker,  Composer  of  "  Mona  " 


PARKER   (HORATIO   W.) 

Mona 

"  "ly  >TONA,"  opera  in  three  acts,  music  by  Horatio  W.  Parker, 
IVX  text  by  Brian  Hooker,  was  first  performed  upon  any 
stage  March  14,  1912,  at  the  Metropolitan  Opera  House,  New 
York,  with  the  following  cast  of  characters: 

Mona,  Princess  of  Britain Louise  Homer. 

Enya,  her  foster  mother Rita  Fornia. 

Gwynn,  son  of  the  Roman  Governor Ricc.mido  Martin. 

Arth,  husband  of  Enya Herbert  Witherspoon. 

Gloom,  son  of  Arth,  a  Druid Wilu,vm  Hinshaw. 

Carodoc,  Chief  Bard Lambert  Murpht. 

Nial,  a  changeling Albert  Reiss. 

Roman  Governor Putnam  Griswold. 

An  old  man Basil  Rutsdael. 

The  opera  of  "  Mona  "  is  interesting  from  two  incidental 
points  of  view.  First,  it  was  composed  by  an  American, 
Mr.  Parker  being  the  head  of  the  musical  department  at  Yale 
University,  and  all  the  artists  who  took  part  in  the  premiere, 
with  one  exception,  were  Americans.  Second,  the  opera  was 
the  successful  competitor  in  a  contest  for  a  prize  of  $10,000 
offered  by  the  Metropolitan  Opera  House  management,  the 
selection  being  made  from  twenty-four  operas  submitted  to 
a  committee  consisting  of  Walter  Damrosch,  George  W.  Chad- 
wick,  Charles  M.  Loeffler,  and  Alfred  Hertz.  Mr.  Brian 
Hooker,  the  author  of  the  libretto,  gives  the  following  analysis 
of  the  plot  of  "  Mona  ": 

"  In  the  days  of  the  Roman  rule  in  Britain,  Quintus,  the 
son  of  the  Roman  Governor  by  a  British  captive,  has  grown 
up  as  one  of  his  mother's  people,  known  to  them  as  Gwynn; 
has  won  place  and  power  among  them  as  a  bard,  making  their 


224  THE    STANDARD    OPERAS 

peace  with  Rome,  and  is  to  wed  Mona,  the  foster  child  of 
Enya  and  Arth  and  last  of  the  blood  of  Boadicea.  But  a 
great  rebellion  has  brewed  in  Britain  under  Carodoc,  their 
chief  bard,  and  Gloom,  the  Druid,  foster  brother  of  Mona. 
She  is  by  birthright  and  by  old  signs  and  prophecies  foretold 
their  leader,  and  thereto  she  has  been  bred  up  hating  Rome 
and  dreaming  of  great  deeds.  This  Gwynn  withstands  in  vain, 
and  lest  he  lose  Mona  and  all  his  power  is  driven  to  swear 
fellowship  in  their  conspiracy.  Even  so,  for  urging  peace  he 
is  disowned  and  cast  off  by  them  and  by  her. 

"  Nevertheless,  he  follows  her  as  she  journeys  about  the 
land  arousing  revolt ;  holding  back  the  Roman  garrisons  from 
seizing  her,  and  secretly  saving  her  life  and  the  life  of  the 
rebellion  many  times.  For  this  he  is  blamed  by  the  Governor, 
his  father ;  but  answers  that  through  Mona  he  will  yet  keep 
the  tribes  from  war.  The  Governor  lays  all  upon  him,  promis- 
ing to  spare  the  Britons  if  they  bide  harmless,  but  if  they 
strike  to  crush  them  without  mercy.  Gwynn  therefore,  meet- 
ing Mona  upon  the  eve  of  the  battle,  so  moves  her  love  for 
him  that  she  is  from  then  utterly  his  own. 

"  And  in  that  triumph  he  begins  to  tell  her  of  his  plans  for 
peace.  But  she,  not  hearing  him  out  and  merely  understand- 
ing that  he  is  a  Roman,  cries  for  help  and  calls  in  the  Britons 
upon  him.  Yet  even  so  she  will  not  betray  him,  and  lies  to 
save  his  life.  They  make  him  prisoner  and,  led  by  Mona  and 
the  bards,  rush  forth  against  the  Roman  town. 

"  The  fight  is  crushed,  Arth  falls  and  Gloom  is  hurt  to 
death  saving  Mona  against  her  will.  Gwynn,  escaping  in  the 
turmoil  of  defeat,  comes  upon  them  and  tries  to  stay  further 
harm,  telling  Mona  of  his  parentage  and  beseeching  her  aid. 
But  she,  having  taken  him  for  a  traitor,  takes  him  now  for 
a  liar,  and  deeming  all  their  woe  his  doing  and  her  fault  for 
having  saved  his  life,  she  slays  him  with  her  own  hand.  Then 
presently  come  the  Governor  and  his  soldiers,  and  Mona, 
before  she  is  led  away  captive,  learns  how  Gwynn  spoke  the 
truth,  and  how  by  yielding  up  her  high  deeds  womanly  for 
love's  sake  she  might  have  compassed  all  her  endeavor." 

Considering  the  music  of  "  Mona  "  as  a  whole  it  is  virtually 


PARKER  225 

impracticable  to  single  out  numbers.  An  analysis  would  neces- 
sitate the  notation  of  motives,  for  Mr.  Parker  has  freely  used 
descriptive  themes,  and  apart  from  these  has  relied  for  his 
effects  ujion  harmonic  treatment,  dramatic  declamation,  and 
orchestral  color,  specially  illustrated  by  the  interludes,  the 
Roman  march,  the  dance  of  Nial,  and  indeed  by  the  entire 
orchestration,  which  shows  the  composer  a  master  of  his 
craft.  In  a  word,  the  music  of  "  Mona  "  is  strictly  in  the 
modern  style,  the  style  of  Strauss  and  Debussy  in  the  use  of 
motives,  dissonances,  and  declamation  which  lacks  the  melodic 
character.  In  these  respects  Professor  Parker's  first  opera 
shows  a  wide  departure  from  all  his  previous  work,  which  has 
been  marked  by  distinctive  and  very  effective  lyricism. 


PONCHIELLI 

La  Gioconda 

"  T     A  Gioconda,"  opera  in  four  acts,  text  by  "  Tobio  Garrio  " 
1   J    (anagram  for  Arrigo  Boito  ),  was  first  produced  at  La 
Scala,  Milan,  April  8,  1876,  with  the  following  cast: 

Gioconda Sig.  Mariani. 

Laura Sig.  Biancolini. 

La  Cieca Sig.  Barlandini. 

Enzo     Sig.  Gayarro. 

Barnaba Sig.  Aldighieri. 

The  first  performance  in  this  country  was  in  New  York, 
December  20,  1883,  under  the  direction  of  Signor  Vianesi. 
The  libretto  is  partly  based  upon  Victor  Hugo's  drama, 
"  Angelo,  the  Tyrant  of  Syracuse." 

The  scene  is  laid  in  Venice  in  the  seventeenth  century. 
The  first  act,  called  "  The  Lion's  Mouth,"  opens  in  the  court- 
yard of  the  Ducal  Palace,  upon  a  great  festivity.  After  the 
lively  regatta  chorus  ("  Feste  e  pane  "),  and  the  departure 
of  the  crowd  to  see  the  sports,  Barnaba,  the  Inquisition's  spy, 
is  left  alone.  He  sings  a  monologue  ("  E  danzan  su  lor 
Tombe  "),  which  contains  a  motive  that  follows  him  throughout. 
From  this  monologue  it  appears  that  he  loves  Gioconda,  who 
appears  at  that  instant  leading  her  blind  mother.  La  Cieca, 
to  the  neighboring  church.  Barnaba  conceals  himself  and  a 
very  dramatic  trio  ("  Figlia,  che  reggi  il  tremulo  ")  follows, 
as  Gioconda  goes  in  quest  of  Enzo,  a  noble  whom  she  loves. 
Barnaba  seizes  her  and  forces  his  protestation  of  love  upon 
her  so  violently  that  the  mother  is  alarmed  and  makes  an 
outcry.     The  crowd  returns  bearing  the  winner  of  the  regatta 


in 

ri 

O 
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a 
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O    I 


H-1 


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c   -^ 


PONCHIELLI  227 

in  triumph  and  making  sport  of  Tuane,  the  loser,  who  is  per- 
suaded by  Barnaba  that  his  defeat  was  the  result  of  La  Cieca's 
spells.  This  raises  another  disturbance  in  the  midst  of  which 
Enzo  appears  with  La  Gioconda.  He  goes  to  the  rescue  of 
La  Cieca  and  denounces  the  crowd  as  cowards.  As  they  turn 
against  him  he  calls  his  comrades  to  his  assistance,  just  as 
Aloise,  one  of  the  chiefs  of  the  Inquisition,  appears  with  his 
wife  Laura,  who  is  masked.  He  restores  order  and  releases 
La  Cieca  from  the  crowd,  who  gives  Laura  her  rosary  as  a 
mark  of  her  gratitude.  During  this  scene  Laura  recognizes 
Enzo  as  the  proscribed  Prince  of  Santafior  to  whom  she  was 
once  affianced  and  whom  she  still  loves.  Barnaba  informs 
him  that  he  is  known,  that  his  love  for  Laura  is  no  secret, 
and  that  she  will  be  on  his  ship  at  nightfall  —  it  being  Bar- 
naba's  purpose  to  get  Enzo  out  of  the  way  so  that  he  may 
have  Gioconda  to  himself.  After  an  expressive  air  for 
La  Cieca  ("  Voce  di  Donna  "),  a  very  powerful  duct  for  Enzo 
and  Barnaba  follows  ("  Pertutti  ma  non  per  me  ").  The 
crafty  spy  warns  Aloise  that  Enzo  is  about  to  elope  with 
Laura  and  the  act  closes  with  Gioconda's  lament  over  Enzo's 
perfidy  ("  Tradita?  Ahime !  "),  with  the  Angelus  of  the  monks 
and  people  for  a  background.  The  finale  is  also  greatly 
enlivened  by  the  ballet  ("La  Furlana ")  danced  by  the 
revellers. 

The  second  act  is  called  "  The  Roses,"  and  passes  on 
board  Enzo's  vessel  and  on  the  banks  of  the  Fusina  lagoon. 
It  opens  with  a  vigorous  marinaresca  or  sea  chorus  ("Ha! 
he!  ha!  he!").  Barnaba  appears  in  his  boat  approaching 
the  vessel  and  singing  a  graceful  but  significant  barcarole 
("Ah!  Peacator"),  which  is  followed  by  the  appearance 
of  Enzo  on  the  deck  of  his  vessel  where  he  sings  a  passionate 
romance  of  his  love  for  Laura  ("  Cielo  e  Mar").  Another 
boat  approaches  and  Laura,  escorted  by  Barnaba,  steps  on 
deck.  Left  alone,  Laura  sings  a  prayer  for  protection  ("  Stella 
del  Marinar").  The  jealous  Gioconda  meanwhile  has  stolen 
on  board.  An  intensely  passionate  duet  ("  E  un  Anatema  ") 
follows,  during  which  Gioconda  attempts  to  stab  Laura.  She 
refrains,  however,  when  Laura  lifts  the  rosary  which  La  Cieca 


228  THE    STANDARD    OPERAS 

had  given  her.  Barnaba  and  Aloise  are  seen  approaching, 
but  Gioconda  gets  Laura  away  before  their  arrival.  An  in- 
tensely dramatic  scene  ensues  between  Enzo  and  Gioconda  at 
the  close  of  which  he  sets  his  vessel  afire  when  he  finds  that 
the  Venetian  galleys  are  surrounding  him. 

The  third  act,  "  The  House  of  Gold,"  opens  with  a  sombre 
monologue  by  Aloise  ("Si!  moris-clla  de!"),  in  which  he 
determines  upon  the  poisoning  of  Laura  during  a  fete.  Laura 
enters  and  a  long  duet  follows  in  which  she  is  notified  she 
must  drink  the  poison  which  he  places  before  her,  before  some 
passing  gondoliers  sing  the  last  notes  of  their  serenade.  He 
leaves,  and  Gioconda  enters,  bringing  with  her  a  narcotic,  which 
she  gives  to  Laura,  at  the  same  time  transferring  the  poison 
to  her  own  phial.  Aloise  returns  and  observing  the  empty 
bottle  thinks  his  revenge  is  complete.  The  scene  changes  to 
a  fete  and  the  graceful  ballet  of  "  The  Hours  "  is  introduced. 
Enzo  appears,  believing  Barnaba's  story  that  Laura  is  dead, 
and  in  a  finale  of  great  power  discloses  his  love  for  her  and 
at  the  same  time  is  threatened  with  Aloise's  vengeance. 

The  fourth  act,  called  "  The  Orfano  Canal,"  opens  in  the 
vestibule  of  a  ruined  palace,  Gioconda's  home.  By  her  side 
are  lighted  lanterns,  poison,  and  daggers.  Two  street  singers 
enter  bearing  the  sleeping  Laura,  whom  they  place  upon  a 
bed.  Gioconda  is  tempted  to  take  Laura's  life  but  resists. 
Enzp  comes  in  and  supposing  Laura  to  be  dead  he  is  about 
to  wreak  his  vengeance  upon  Gioconda  when  she  wakes  and 
reveals  to  him  who  has  saved  her.  The  trio  of  parting  between 
them  ("  Sulle  tue  mani  ")  is  worked  up  to  a  climax  of  ex- 
traordinary power.  Gioconda,  pretending  to  keep  her  word 
to  Barnaba,  arrays  herself  in  her  gayest  attire  and  then  stabs 
herself,  with  the  words,  "  I  have  sworn  bo  be  thine.  Take 
me,  I  am  thine."  The  furious  wretch,  balked  of  his  prey, 
exclaims:  "Ah!  stay  thee!  'T  is  a  jest'  Well  then,  thou 
shalt  hear  this,  and  die  ever  damned !  Last  night  thy 
mother  did  offend  me.  I  have  strangled  her.  She  hears 
me  not !  " 

In  "  La  Gioconda  "  the  composer  has  departed  from  all  the 
conventional   Italian   methods   and   his   music   clearly   shows 


PONCHIELLI  229 

Wagner's  influence.  It  is  a  sombre  theme  that  dominates  the 
chapters  of  horrors  and  the  music  shares  the  nature  of  the 
libretto,  though  the  score  contains  many  attractive  scenes  and 
there  are  passages  for  the  voice  of  much  brilliancy  as  well 
as  power. 


PUCCINI    (GIACOMO) 

La  Boheme 

LA  Boheme,"  opera  in  four  acts,  text  by  Giacosa  and 
Illica,  was  first  produced  at  the  Teatro  Regio,  Turin, 
February  1,  1896,  and  in  English  as  "  The  Bohemians,"  by 
the  Carl  Rosa  English  opera  troupe,  at  Manchester,  England, 
April  22,  1897.  As  it  would  be  next  to  impossible  to  make 
a  connected  libretto  from  Murger's  famous  realistic  "  La  Vie 
de  Boheme,"  the  librettists  have  selected  four  scenes,  which 
introduce  the  romantic  poet  Rodolphe,  struggling  with  love 
and  poverty;  Marcel,  the  optimistic  artist;  Schaunard,  the 
eccentric  musician;  Colline,  the  cheerful  philosopher;  the 
coquettish  Musette,  and  Mimi,  the  pathetic  little  grisette.  It 
is  only  a  few  chapters  in  their  Bohemian  life  that  have  been 
used,  but  rarely  has  music  been  more  closely  adapted  to 
characters  than  that  which  Puccini  has  furnished. 

In  the  first  act  the  four  Bohemians  are  seen  in  their  garret 
plunged  in  despair  over  their  empty  pockets.  Rodolphe  con- 
tributes his  manuscripts  to  keep  the  fire  alive,  and  Marcel 
holds  off  the  landlord  until  Schaunard,  who  has  had  an  un- 
expected streak  of  good  fortune,  arrives.  Three  of  them  at 
once  go  off  to  a  cafe  to  enjoy  Christmas  Eve  while  Rodolphe 
remains  behind  to  write.  All  this  is  but  a  prelude  to  the 
entrance  of  Mimi,  the  embroiderer,  upon  the  pretext  of  getting 
a  light.  A  love  scene  follows  between  her  and  Rodolphe  and 
the  two  go  to  join  their  friends  in  the  Latin  Quarter,  the  little 
grisette  happy  as  a  bird,  and  Rodolphe  in  high  spirits  as  they 
stroll  arm  in  arm  through  the  crowds,  though  Mimi  is  aware 
that  a  fatal  malady  has  already  touched  her.  The  next  scene 
really  develops  the  character  of  Musette,  and  passes  in  the 


Saleza  as  Rodolfo 

Copyright,  Aim^ Ditpont 


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Group  from  "  La  Boheme' 


PUCCINI  231 

street  before  the  Cafe  Momus  where  Musette  appears,  es- 
corted by  a  wealthy  banker.  She  has  little  difficulty  in  get- 
ting rid  of  the  banker  and  flying  to  the  arms  of  Marcel,  her 
old  lover.  The  third  act  is  full  of  quarrels  and  reconciliations 
between  the  two  pairs  of  lovers,  mingled  with  a  vein  of  comedy, 
and  the  fourth  act  is  dominated  by  the  pathetic  death  of  little 
Mimi. 

There  are  few  set  pieces  in  "  La  Boheme  "  to  be  described. 
The  music  is  adapted  to  the  characters  and  illustrates  all  the 
varying  shades  of  gayety,  tenderness,  and  pathos  with  a  rich 
flow  of  melody,  unique  concerted  effects,  and  most  effective 
orchestration.  It  is  Italian  music  throughout,  but  Italian  music 
was  never  more  deftly  employed  than  in  this  remarkable  pic- 
ture of  human  emotions.  The  striking  numbers  in  the  first 
act  are  the  colloquies  between  the  four  Bohemians  which  are 
preliminary  to  the  fascinating  love  duet  between  Mimi  and 
Rodolphe  ("  Mi  chiamano  Mimi  "),  closing  with  his  rapturous 
outburst  of  passion  ("  O  soave  fanciuUa  ").  The  second  act 
is  a  carnival  of  gayety,  the  street  scene  before  the  cafe  fur- 
nishing opportunity  for  gay  choruses  of  the  most  typical 
description  —  for  soldiers,  students,  servants,  working  girls, 
grisettes,  pedlers,  and  venders  of  cakes,  candies,  fruits,  and 
delicacies  mingle  in  a  crowd  of  the  motliest  sort,  each  having 
characteristic  bits  of  chorus,  and  all  handled  with  consummate 
skill  in  concerted  effect.  The  gem  of  the  gay  scene,  however, 
is  Musette's  lively  waltz  and  the  rhythms  of  music  sung  by 
the  four  students.  The  principal  numbers  in  the  third  act 
are  the  music  to  the  separation  of  Mimi  and  Rodolphe  at  the 
barriers  ("  Addio,  senza  Rancore  "),  which  is  set  off  in  strong 
contrast  with  the  quarrel  scene  of  Musette  and  Marcel,  in 
which  they  hurl  epithets  at  each  other  ("  Che  mi  gridi.''  Che 
mi  canti?  ").  The  music  of  the  fourth  act  is  tragic  throughout 
and  culminates  in  the  pathetic  duet  between  Mimi  and  Rodolphe 
("  Sono  audati?  Fingeos  di  dormire  ")  after  she  has  been 
brought  back  to  the  students'  attic  to  die.  Musically  as  well 
as  dramatically  it  is  a  scene  of  absorbing  interest  and  comes 
nearer  to  inspiration  than  most  of  the  music  of  the  modern 
Italian  school. 


232  THE    STANDARD    OPERAS 

La  Tosca 

"  La  Tosca/'  opera  in  three  acts,  text  by  Giacosa  and  Illica, 
after  Sardou's  melodrama  of  the  same  name,  was  first  pro- 
duced at  the  Costanzi  Theatre,  Rome,  in  January,  1900.  It 
was  brought  out  in  London  during  the  same  year,  with  Ter- 
nina,  Scotti,  and  De  Lucia  in  the  principal  roles,  and  was  first 
heard  in  this  country  in  New  York,  February  4,  1901,  with 
the  following  cast: 

Floria  Tosca Mme.  Milka  Terntna. 

Mario  Cavaradossi      Sig.  Chemonini. 

Cesar  Angclotti Sig.  Dufriche. 

II  Sagrestano Sig.  Gilibert. 

Spoletta Sig.  Bars. 

Sdanone Sig.  Viviani. 

Scarpia Sig.  Scotti. 

The  story  is  repulsive  but  intensely  dramatic.  The  first  act 
opens  in  the  Church  of  Saint  Andrea  alia  Valle.  Cavaradossi, 
a  painter,  working  in  the  church,  is  visited  by  his  mistress, 
Floria  Tosca.  Meanwhile  Cesar  Angelotti,  a  political  pris- 
oner, seeks  refuge  in  the  church  and  conceals  himself  in  the 
chapel.  A  love  scene  follows  between  the  painter  and  Tosca. 
Angelotti,  warned  that  his  escape  has  been  discovered,  hurries 
away  with  the  painter's  help  to  the  latter's  villa.  A  crowd 
pours  into  the  church  to  celebrate  a  victory  over  Napoleon, 
among  them  Scarpia,  the  chief  of  police,  who  has  tracked 
Angelotti  there  and  finds  evidences  of  the  prisoner's  recent 
presence.  Angelotti's  sister  had  left  a  woman's  dress  as  a 
disguise  for  him,  and  in  the  hurry  of  the  escape  a  fan  was 
dropped  which  makes  Tosca  suspect  that  her  lover  had  left 
with  some  woman  as  his  companion. 

In  the  second  act  Cavaradossi  is  found  at  Tosca's  villa  and 
is  arrested  by  Scarpia's  orders  in  the  hope  of  finding  Ange- 
lotti's hiding  place.  Scarpia  conspires  to  secure  Tosca  by 
torturing  Cavaradossi,  but  he  reveals  nothing.  In  desperation, 
Tosca  secretly  informs  him  of  Angelotti's  hiding-place,  and 
her  lover  is  imprisoned.  Angelotti  is  found  but  escapes  by 
suicide.     Scarpia  thereupon  presents  the  hideous  alternative 


Scotti  as  Scarpia 

Copyright,  Burr  Mcintosh 


PUCCINI  233 

to  Tosca  of  her  lover's  instant  death  or  her  own  dishonor. 
Tosca  agrees  to  yield  if  he  will  first  sign  a  permit  for  herself 
and  Cavaradossi  to  leave  the  city  the  next  morning.  Scarpia 
thereupon  orders  his  deputy  to  have  a  mock  execution  by  firing 
blank  cartridges,  and  while  signing  the  permit  is  stabbed  by 
Tosca. 

In  the  last  act  Tosca  visits  her  lover  in  the  prison  and  tells 
him  of  the  feigned  execution  and  a  long  love  scene  follows. 
Then  comes  the  execution,  but  it  is  a  real  one,  for  the  soldiers 
have  unwittingly  killed  him.  At  the  same  time  Scarpia's 
guards  appear  upon  the  scene  in  quest  of  Tosca,  for  they  have 
heard  of  their  master's  death  and  know  that  she  killed  him. 
As  Tosca  sees  them  and  becomes  aware  of  their  purpose,  she 
leaps  to  death  from  the  prison  ramparts. 

There  is  no  overture  to  "  La  Tosca."  Three  gloomy  chords, 
the  motive  of  Scarpia,  are  sounded  and  the  curtain  rises  upon 
the  church  interior.  Nearly  all  the  first  act  is  occupied  by 
the  dialogue  music  between  Cavaradossi,  Angelotti,  the  Sacris- 
tan, and  Tosca,  which  is  smoothly  and  melodiously  written, 
followed  by  Cavaradossi's  charming  aria  ("  Recondita  Ar- 
menia ")  leading  up  to  his  duet  with  Tosca,  in  which  occurs 
a  very  beautiful  passage  for  the  latter  ("  Non  la  sospire  "). 
The  interruption  of  the  number  by  the  entrance  of  choristers, 
seminarians,  and  the  people  to  celebrate  the  victory  prepares 
the  way  for  a  finale  of  much  power  and  brilliancy  of  effect  in 
which  Scarpia's  furious  soliloquy  ("  Va,  Tosca,  nel  tuo  Cuor 
s' annida  Scarpia")  is  sung  against  the  ringing  of  bells,  boom- 
ing of  cannon,  pealing  of  the  organ  and  the  Te  Deum  of  the 
choristers. 

The  second  act  is  not  rich  in  set  numbers.  Its  music  mainly 
accompanies  and  sets  forth  the  spirit  of  the  action  in  quick 
but  graphic  musical  dialogue.  The  most  striking  effect  is  the 
gavotte  music  at  the  Queen's  entertainment  in  honor  of  the 
victory  and  the  singing  of  the  cantata  b}'^  Tosca  and  chorus 
behind  the  scenes,  while  Cavaradossi  is  undergoing  examina- 
tion and  horrible  torture  at  Scarpia's  hands,  and  the  tragedy 
music  in  the  finale,  with  Tosca's  imploring  appeal  to  Scarpia 
("  Vissi  d' Arte  e  d' Armour,  no  feci"). 


234*  THE    STANDARD    OPERAS 

The  tliird  act  opens  more  quietly  and  upon  a  gentler  scene, 
made  attractive  by  the  shepherds'  snatches  of  song,  blending 
■with  delightful  bits  of  orchestral  music  and  the  distant  sound 
of  bells.  The  rural  quiet,  however,  is  soon  disturbed  by  the 
approaching  tragedy.  Cavaradossi  bids  his  farewell  to  Tosca, 
to  the  accompaniment  of  a  'cello  obbligato,  followed  by  his 
mournful  soliloquy  ("  E  lucevan  le  Stelle  "),  and  the  duet  with 
Tosca,  ending  "  O  dolci  Mani."  As  the  duet  closes,  action  and 
music  rush  swiftly  to  the  tragic  denouement  and  the  ghastly 
story  ends  in  melodramatic  music  of  the  most  intense  kind. 


Madame  Butterfly 

"  Madame  Butterfly,"  the  text  by  Illica  and  Giacoso,  is 
founded  upon  the  story  of  the  same  name  by  Johxi  Luther 
Long  and  the  drama  by  David  Belasco.  It  is  arranged  in  three 
acts  and  was  first  given  at  Milan  in  190i  and  in  this  country 
in  1906. 

The  story  is  infinitely  pathetic.  The  first  act  opens  near 
Nagasaki.  Lieutenant  Pinkerton  of  the  United  States  Navy 
has  arranged  through  a  marriage  broker  to  wed  Cho-Cho-San 
(Madame  Butterfly)  and  is  disclosed  inspecting  a  house  he 
has  leased,  and  with  him  Sharpless,  the  American  Consul,  who 
seeks  to  dissuade  him  from  the  marriage.  During  their  in- 
terview the  bride  and  her  friends  arrive,  and  the  situation  is 
further  complicated  by  Madame  Butterfly's  announcement  to 
the  Consul  that  she  has  abjured  her  faith  and  will  entrust  her 
future  to  her  husband.  The  marriage  contract  is  signed,  but 
as  the  celebration  begins  Madame  Butterfly's  uncle,  a  priest, 
arrives  and  curses  her  for  her  renunciation,  whereupon  Pinker- 
ton  turns  him  and  the  rest  of  the  Japanese  out  of  the  house. 
A  passionate  scene  with  Madame  Butterfly  follows. 

Three  years  are  supposed  to  elapse.  Pinkerton  has  long 
since  been  recalled  to  America  and  Madame  Butterfly  patiently 
and  bravely  awaits  his  return.  Meanwhile  Pinkerton  has  in- 
formed the  Consul  that  he  is  now  married  to  an  American 
wife  and  is  about  to  return  to  Nagasaki.     The  Consul  comes 


PUCCINI  235 

to  break  this  news  to  her,  but  finds  it  a  difficult  task  to  un- 
deceive her.  Meanwhile  Yamadori,  a  wealthy  Japanese  suitor, 
visits  her,  but  she  will  not  listen  to  his  proposal,  upon  the 
ground  that  she  is  already  married  to  Pinkerton.  As  he 
departs  the  Consul  again  tries  to  convince  her  of  the  truth  of 
his  message,  but  she  only  answers  him  by  bringing  in  her  baby 
boy.  As  he  departs,  guns  announce  the  arrival  of  Pinkerton's 
ship  and  Madame  Butterfly  is  in  a  transport  of  joy.  She  and 
her  maid  decorate  the  house  for  his  reception  and  they  watch 
for  his  approach.  The  tired  maid  and  the  baby  go  to  sleep, 
but  Madame  Butterfly  still  watches. 

The  third  act  opens  with  the  vision  of  Madame  Butterfly 
still  watching  for  her  husband.  At  last  he  appears,  approach- 
ing the  house  with  his  American  wife  upon  his  arm.  As  he 
realizes  the  tragedy  of  the  situation  he  rushes  away,  leaving 
the  Consul  to  explain.  The  latter  induces  the  maid  to  tell 
the  whole  truth  to  Madame  Butterfly  and  also  to  urge  her  to 
give  the  baby  to  the  American  lady  to  be  brought  up.  When 
the  former  learns  the  full  truth  she  wishes  the  American  lady 
happiness  and  sends  word  to  Pinkerton  she  will  soon  find 
peace.  A  little  later  Pinkerton  and  the  Consul  return,  only  to 
find  her  dead.     She  has  killed  herself  with  her  father's  dagger. 

The  music  is  thoroughly  in  keeping  with  the  movements  of 
this  sad  tragedy.  It  abounds  in  melodious  recitative  and  has 
many  movements  of  deepest  pathos  as  well  as  of  fascinating 
grace  and  brilliancy.  Its  most  prominent  numbers  are  the 
Oriental  music  which  accompanies  the  first  appearance  of 
Madame  Butterfly  and  her  friends ;  the  exquisite  love  duet  in 
the  first  act;  the  finale  to  the  same  act  ("Ah!  Night  of 
Rapture  ")  ;  Madame  Butterfly's  lament  in  the  second  act;  and 
her  closing  music  in  the  third,  which  is  marked  by  tender 
pathos,  love,  and  resignation  to  her  fate. 


Manon  Lescaut 

"  Manon  Lescaut,"  the  third  of  Puccini's  operas,  was  first 
produced  in  Milan  in  1893  and  had  its  first  performance  in 


236  THE    STANDARD    OPERAS 

this  country  in  1894.  The  text  is  based  upon  Prevost's 
"  Manon  Lescaut/'  and  the  opera  is  arranged  in  four  acts  so 
that  each  act  constitutes  a  scene. 

The  first  act  opens  before  an  inn  where  students  are  singing 
and  waiting  for  the  girls  to  come  from  work.  Des  Grieux 
enters  but  does  not  join  them.  Manon  and  Lescaut,  her 
brother,  alight  from  a  coach  and  Des  Grieux  accosts  her. 
She  is  on  her  way  to  a  convent  but  promises  to  meet  him  later. 
Geronte,  another  admirer  of  Manon,  and  an  old  roue,  plans  to 
carry  her  off,  but  Edmund,  a  student,  overhears  his  plan  and 
advises  Des  Grieux  to  take  Manon  away  in  Geronte's  post- 
chaise,  which  he  does,  followed  by  Lescaut  and  Geronte. 

The  opening  of  the  second  act  reveals  that  Manon  has  be- 
come Geronte's  mistress.  She  is  installed  in  his  Paris  apart- 
ment, but  is  sad  as  she  remembers  Des  Grieux.  A  dance 
follows,  after  which,  in  Geronte's  absence,  Des  Grieux  ap- 
pears. In  the  midst  of  their  loving  interview  Geronte  suddenly 
returns,  pretends  to  give  them  their  freedom,  and  leaves  them. 
Her  brother  urges  them  to  fly,  but  as  they  attempt  to  do  so 
the  door  is  locked  by  Geronte's  orders,  and  a  squad  of  soldiers 
appears.  Manon  is  arrested  and  taken  away,  Des  Grieux 
vainly  attempting  to  follow. 

The  third  act  opens  in  a  square  at  Havre.  Manon  is  in 
prison,  but  tells  Lescaut  and  Des  Grieux  through  the  bars 
that  she  is  to  be  exiled  to  America.  Their  attempts  at  rescue 
are  thwarted.  At  last  Manon,  amid  a  crowd  of  women  who 
are  also  to  be  deported,  is  escorted  by  the  guards  to  a  vessel. 
Des  Grieux  seeks  to  walk  by  her  side,  but  the  Sergeant 
roughly  pushes  him  away.  The  Captain  of  the  vessel,  however, 
sympathizing  with  him,  manages   to  smuggle  him  aboard. 

The  fourth  act  reveals  a  desert  place  near  New  Orleans  (  !) 
where  Manon  and  Des  Grieux  are  wandering  about  exhausted, 
and  vainly  seeking  shelter.  As  Des  Grieux  is  long  absent 
seeking  for  water,  she  thinks  he  has  deserted  her,  abandons 
all  hope  and  lies  down  to  die.  Des  Grieux  returns,  but  too 
late,  for  she  dies  in  his  arms. 

The  most  striking  passages  of  the  opera  are  the  duet  for 
the  two  lovers  and  the  beautiful  romanza  for  Des  Grieux  in 


PUCCINI  237 

the  first  act;  the  graceful  minuet  and  madrigal  and  the  pas- 
sionate duet  of  the  lovers  in  the  second  act;  the  orchestral 
intermezzo  called  "  Journey  to  Havre  "  between  the  second 
and  third  acts ;  the  tenor  solo,  in  which  Des  Grieux  pleads  for 
Manon  and  the  very  dramatic  climax  in  the  finale  of  the  third, 
punctuated  with  the  Sergeant's  roll-call  as  the  unfortunate 
women  are  deported.  The  fourth  act  is  a  long,  monotonous, 
and  somewhat  dreary  duet  between  Manon  and  Des  Grieux. 


Le  Villi 

"  Le  Villi,"  an  opera  in  two  acts,  libretto  by  Ferdinando 
Fortuna,  is  interesting  as  the  first  dramatic  work  of  a  com- 
poser now  world-famous.  It  was  written  by  Puccini  while  he 
was  a  student  at  the  Milan  Conservatory,  in  competition  for 
a  prize,  but  was  rejected  by  the  Committee.  Subsequently, 
with  the  help  of  Boito,  the  young  composer  revised  it  and 
expanded  it  from  one  act  to  two,  and  in  this  form  it  was  pro- 
duced in  Milan  in  1884<  and  achieved  a  success.  The  source 
of  the  story  used  by  the  librettist  is  legendary,  being  both 
Slavic  and  Teutonic.  The  legends  agree  in  the  main,  the  Villi, 
or  Wilis,  being  the  ghosts  of  maidens  deserted  by  their  lovers, 
who  take  revenge  by  waylaying  their  betrayers  and  whirling 
them  to  death  in  the  dance. 

There  are  but  three  principal  characters  in  "  Le  Villi  "  — 
Wulf,  the  mountaineer;  Anna,  his  daughter;  and  Robert,  the 
faithless  lover.  The  scene  is  laid  in  the  Black  Forest.  The 
first  act  opens  upon  the  betrothal  feast  of  Robert  and  Anna. 
The  former  is  about  to  depart  upon  a  journey  and  assures 
the  disconsolate  Anna  he  will  remain  faithful  to  her.  All  join 
in  prayer  and  he  takes  his  farewell. 

The  second  act  reveals  that  Robert  has  forgotten  his  prom- 
ises. He  devotes  himself  to  wild  orgies  in  Mayence  and  is  led 
astray  by  an  evil  woman  upon  whom  he  squanders  his  money. 
Despairing  of  his  return,  Anna  is  taken  ill  and  dies.  Robert 
returns  to  his  native  village,  a  broken-down  man,  but  as  he 
is  passing  through  the  forest  the  Wilis  dance  about  him.     He 


238  THE    STANDARD    OPERAS 

reaches  Anna's  cottage  and  hears  strange  sounds  —  the  funeral 
chant.  The  witch  dancers  reappear  and  among  them  is  the 
apparition  of  Anna.  She  upbraids  him.  He  tries  to  escape, 
but  she  seizes  him  by  the  arm  and  the  Wilis  surround  him  and 
whirl  him  about.  With  a  last  appeal  to  Anna  he  falls  dead 
and  Anna  vanishes,  while  the  chorus  sings  a  derisive 
"  Hosanna." 

The  music  of  "  Le  Villi  "  derives  its  main  interest  from  the 
fact  that  it  reveals  the  beginnings  of  the  genius  displayed  in 
"  Le  Boheme  "  and  "  Manon  Lescaut/'  and  yet  there  are  num- 
bers which  are  very  attractive,  among  them  the  betrothal  music, 
prayer,  and  waltz  in  the  first  act;  the  symphonic  prelude 
to  the  second  act,  "  L'Abbandono,"  and  its  second  part  after 
the  passage  of  the  funeral  procession  "  La  Tregenda,"  ac- 
companying the  dances  of  the  Wilis.  Streatfeild,  analyzing 
the  work  of  Puccini,  says:  "  The  music  is  the  work  of  a  man 
of  imagination.  It  is  thoroughly  Italian  in  character  and  there 
is  little  attempt  at  local  color.  In  the  supernatural  part  the 
composer  is  completely  successful.  His  Wilis  have  a  character 
of  their  own,  entirely  distinct  from  that  of  other  operatic 
spectres.  There  is  a  fiendish  rapture  in  their  gambols  which 
Puccini  has  been  very  happy  in  conveying." 


The  Girl  of  the  Golden  West 


"  La  Fanciulla  del  West  ("  The  Girl  of  the  Golden  West  "), 
an  opera  in  three  acts,  music  by  Giacomo  Puccini,  text  by 
C.  Zangarini  and  C.  Civinini,  was  first  produced  upon  any 
stage,  by  the  Metropolitan  Opera  Troupe,  in  New  York,  De- 
cember 10,  1910,  with  the  following  cast: 

Minwie      Emmt  Destinn. 

Johnson Enrico  Caruso. 

Jake  Ranee Pasquale  Amato. 

Nick      Albert  Reiss. 

Aahby Adamo  Didur. 

Sonora Dinh  Gilly. 

Trin Angelo  Bada. 


Caroline  White  as  The  Girl 


Copyright,  Matzeiie 


PUCCINI  239 

Sid GiuLio  Rossi. 

Bella     VincenzoReschiglian. 

Harry Pietbo  Audisio. 

Joe Glenn  Hall. 

Happy Antonio  Pini-Corsi. 

Larkens Menotti  Fbascona. 

Billy     Georges  Boubqeois. 

Wowkle Marie  Mattfeld. 

Jake  Wallace Andrea  de  Segurola. 

Jose  Castro EpoARDO  Missiano. 

The  text  of  the  opera  is  founded  upon  the  drama  of  the 
same  name  by  David  Belasco,  a  performance  of  which  Puccini 
witnessed  during  a  visit  to  New  York  for  the  purpose  of 
assisting  in  the  initial  performance  of  his  opera  "  Madame 
Butterfly."  The  play  greatly  attracted  him  and  gave  him  the 
idea  of  setting  it  in  operatic  form.  It  follows  the  original 
story  quite  closely,  a  few  changes  only  having  been  made  in 
the  first  and  last  acts  for  scenic  and  musical  effect. 

The  first  act  opens  with  a  characteristic  scene  in  the  Polka 
saloon  among  the  California  mountains.  While  the  miners  are 
playing  cards  and  drinking,  the  minstrel  of  the  camp  sings  a 
home  song,  which  so  affects  Larkens  that  the  miners  take  up 
a  contribution  to  send  him  home.  Another  is  caught  cheating 
and  kicked  out.  Ashby,  the  express  agent,  suddenly  enters 
witli  the  announcement  that  he  is  hot  on  the  trail  of  Rammerez, 
the  outlaw.  Minnie,  the  proprietor  of  the  saloon,  appears  and 
a  quarrel  ensues  between  Ranee,  her  lover,  and  one  of  the 
miners,  in  which  Ranee's  life  is  saved  by  her.  After  quiet 
has  been  secured  Nick  enters,  announcing  there  is  a  stranger 
outside.  He  is  bidden  by  Minnie  to  bring  him  in,  and  Dick 
Johnson,  in  whom  she  is  interested  and  whom  she  has  met 
before,  enters.  The  jealous  Ranee  seeks  to  pick  a  quarrel 
with  him,  but  Minnie  again  interferes,  and  while  the  miners 
are  dancing  she  and  Johnson  retire  into  the  next  room.  Ashby 
suddenly  enters,  bringing  with  him  Jose  Castro,  one  of  Ram- 
merez' band,  who,  upon  being  questioned,  throws  the  miners 
off  the  scent  by  informing  them  that  Rammerez  is  not  half 
a  mile  away.  When  Johnson  reenters  he  is  astonished  at  find- 
ing Castro,  who   whispers   to   him   that  he  has   deceived  the 


24.0  THE    STANDARD    OPERAS 

miners.  After  the  latter  have  started  out^  a  love  scene  ensues 
between  Minnie  and  Johnson,  after  which  he  suddenly  departs, 
informing  her,  however,  that  he  will  return. 

The  second  act  opens  in  Minnie's  mountain  cabin,  and  dis- 
closes Wowkle,  the  squaw,  and  Billy,  her  Indian  lover,  in  a 
quaint  love  scene.  Minnie  enters  and  Johnson  soon  joins  her. 
A  love  scene  follows.  Meanwhile  the  storm  without  is  so 
severe  that  Minnie  gives  him  her  bed  and  she  herself  lies  on 
the  blankets  before  the  fire.  They  are  suddenly  disturbed, 
however,  by  the  posse,  with  Ranee  at  the  head,  who  declares  to 
Minnie  that  her  friend  Johnson  is  the  bandit  Rammerez  and 
shows  her  a  photograph  to  prove  it.  After  they  have  left 
Minnie  confronts  Johnson  with  the  charge,  and  as  he  does  not 
deny  it  she  drives  him  out  into  the  storm  notwithstanding  his 
plea  that  he  is  going  to  lead  a  better  life.  Suddenly  a  shot 
is  heard  and  Johnson  is  found  by  Minnie  lying  wounded  at 
the  door.  She  drags  him  in  and  helps  him  to  a  loft  above 
the  room.  Ranee  enters  to  kill  him,  but  Minnie  declares  he 
is  not  there,  and  so  far  allays  Ranee's  suspicions  that  he  is 
about  to  leave.  A  drop  of  blood,  however,  falls  upon  his  hand 
from  above  and  he  orders  the  wounded  man  out  from  his 
hiding-place.  Knowing  that  Ranee  will  kill  him,  and  that  the 
sheriff  is  a  confirmed  gambler,  she  proposes  a  game.  If  he 
wins  he  shall  have  Johnson  for  his  prisoner,  if  she  wins  she 
shall  have  Johnson.  She  wins  by  cheating  while  the  sheriff's 
back  is  turned  and  secures  her  lover. 

In  the  last  act  Johnson  has  been  captured  by  the  express 
agent  and  others,  and  preparations  are  made  for  his  lynching. 
The  rope  is  fastened  about  his  neck,  and  as  the  furious  miners 
are  about  to  hang  him  Minnie  dashes  in  and  pleads  for  John- 
son's life  so  eloquently  that  the  men,  who  are  very  fond  of 
her,  finally  relent  and  let  him  go,  upon  condition  that  he  will 
leave  the  country  forever.  He  consents,  Minnie  joins  him, 
and  the  two  depart  to  begin  a  new  life  far  remote  from  the 
mountains. 

The  short  orchestral  prelude  gives  out  three  motives,  the 
first  of  which  typifies  the  redemption  of  Johnson  by  Minnie's 
love,  the  second  in  ragtime,  the  outlaw  side  of  Johnson's  char- 


PUCCINI  241 

acter,  and  the  third,  the  pleading  of  Minnie  for  his  life.  The 
principal  numbers  are  the  minstrel's  song,  supposed  to  be 
American  in  color  but  purely  Puccinian,  the  chorus  of  the 
miners,  which  is  described  as  "  un  ritornello  Americano,"  but 
wliich  has  little  American  about  it,  and  the  duets  between 
Eance  and  Minnie,  and  Johnson  and  Minnie,  in  the  first  act; 
the  Indian  song  of  Wowkle,  the  squaw,  the  love  passage  be- 
tween Minnie  and  Johnson,  and  the  card  game  music,  in  the 
second  act;  and  the  tenor  solo  for  Johnson  and  Minnie's  plea 
in  the  last  act,  which  are  purely  Italian  in  the  Puccini  style 
and  the  most  effective  numbers.  The  opera  as  a  whole  is  a 
curious  mixture  of  Puccini  in  the  vocal  score,  Debussy  in 
the  orchestral,  and  ragtime  and  Indian  rhythms  in  an  effort 
to  secure  American  color.  The  great  scenes  are  purely  Italian, 
and  the  dramatic  quality  is  obtained  from  various  sources. 
But  it  must  be  said  that  American  atmosphere  is  lacking. 


REYER    (ERNEST) 

Sigurd 

SIGURD/'  opera  in  four  acts,  by  Louis  Etienne  Ernest 
Rev,  commonly  known  as  Ernest  Reyer,  text  by  Du 
Locle  and  Blau,  was  first  produced  at  the  Theatre  Monnaie, 
Brussels,  January  7,  1884,  with  Mme.  Rose  Caron,  Mme.  Bos- 
man,  Mme.  Deschamps,  and  MM.  Jourdain,  Devries,  Gresse, 
Renaud,  Boussa,  Goeffoel,  Mansuede  and  Stalport  in  the  prin- 
cipal parts.  The  subject  of  the  opera  is  taken  from  the  Eddas, 
and  closely  resembles  in  certain  scenes  Wagner's  "  Gotter- 
dammerung  "  and  "  Siegfried,"  though  it  was  written  a  long 
time  before  either  of  these  music-dramas  were  performed.  In 
fact  "  Sigurd  "  was  not  brought  out  in  Paris  until  eighteen 
years  after  it  was  written.  There  is  no  ground  for  the  accu- 
sation sometimes  made  that  Reyer  is  an  imitator.  He  has 
simply  used  some  of  the  same  materials  employed  by  Wagner, 
but  musically  has  treated  them  in  an  entirely  different  manner. 
A  long  overture  gives  out  several  of  the  leading  melodies 
of  the  opera.  The  first  act  opens  in  Gunther's  palace,  and 
discloses  women  embroidering  battle  standards  and  singing 
the  martial  chorus  ("  Brodons  des  Etendards  et  preparons  des 
Armes  "),  Hilda,  Gunther's  sister,  and  her  nurse,  Uta,  are  in 
the  group,  and  Hilda  relates  a  dream  which  troubles  her,  and 
which  is  interpreted  by  Uta  in  a  long  and  very  dramatic  aria 
("  Je  sais  des  Secrets  merveilleux  ")  to  mean  that  her  coming 
husband  v/ill  be  killed  by  a  jealous  rival.  Hilda,  whose  hand 
is  sought  by  Attila,  King  of  the  Huns,  reveals  the  secret  of  her 
love  for  Sigurd  (Siegfried).  Uta  assures  her  that  she  will 
bring  Sigurd  to  her  and  give  him  a  love  potion,  Attila's  mes- 
sengers arrive  and  are  welcomed  by  Gunther,  and  the  story 


REYER  243 

is  told  of  Brunehild  sleeping  amid  the  fire-guarded  rocks  in 
a  scena  of  great  power,  accompanied  by  festive  music  ("  C'etait 
Brunehild,  la  plus  belle ").  Gunther  resolves  to  win  her. 
Then  follows  an  interview  between  Hilda  and  Gunther,  in 
which  the  latter  presses  Attila's  suit,  but  before  she  can  make 
reply  a  trumpet  peal  is  heard,  announcing  Sigurd,  whose  en- 
trance aria  is  one  of  great  vigor  ("  Prince  de  Rhin,  au  Pays 
de  mon  Pere  ").  Gunther  and  Sigurd  declare  their  friendship 
for  each  other  in  the  duet  ("  Nous  nous  promettons  devant 
vous  ").  Hilda  advances  with  Uta's  magic  draught,  which 
Sigurd  drinks.  He  at  once  falls  in  love  with  her,  and  her 
hand  is  promised  to  him  in  consideration  of  his  helping 
Gunther  to  win  Brunehild. 

The  second  act  opens  in  Brunehild's  land  with  a  chorus  of 
priests  ("  Dieux  terribles  qui  vous  plaisez  ")  engaged  in  the 
worship  of  Odin  and  Freja.  The  rites  are  interrupted  by  the 
appearance  of  Sigurd,  Gunther,  and  Hagen,  who,  in  a  strong 
scena  ("  O  Brunehild,  O  Vierge  armee  "),  announce  their  er- 
rand. The  priests  and  worshippers  warn  them  that  no  one 
can  succeed  except  one  who  has  never  known  love.  As  Sigurd 
alone  is  fitted  for  the  task,  in  the  next  scene  we  find  him  in 
the  forest,  where  he  sings  an  aria  of  great  power  and  melodic 
beauty  ("Le  Bruit  des  Chants  s'eteint  dans  la  Foret  im- 
mense"). He  has  been  instructed  to  sound  the  horn  given 
him  by  the  priests  three  times.  After  an  invocation  to  Hilda 
he  blows  a  blast  and  is  shown  three  Norns  washing  a  shroud 
at  a  spring,  which  they  intimate  is  for  him.  Sigurd  prepares 
to  sound  another  blast  and  is  assailed  by  supernatural  beings, 
but  he  overcomes  them,  and  then  they  tempt  him  in  a  volup- 
tuous scene,  but  in  vain.  At  last  the  lake  near  by  turns  to  a 
lake  of  fire,  with  a  palace  of  fire  rising  from  it.  Nothing 
daunted,  he  plunges  in.  The  scene  changes.  Led  by  the 
Norns,  he  calls  to  Brunehild.  She  awakes,  and  at  once  offers 
her  love  to  Sigurd  in  the  brilliant  aria,  "  Salut,  splendeur  du 
Jour."  Sigurd,  faithful  to  Gunther,  however,  bids  her  follow 
him,  and  he  leads  her  away  with  a  drawn  sword  between 
them. 

The  third  act  opens  in  Gunther's  gardens.    Spirit  voices  are 


244  THE    STANDARD    OPERAS 

heard  invoking  the  King's  presence  ("A  la  voix  des  Esprits 
de  I'Air  "),  and  a  dramatic  scene  ensues  in  which  Hilda  and 
Uta  overhear  Sigurd's  announcement  of  his  success.  Brune- 
hild,  who  has  been  taken  to  the  garden  while  sleeping  by  the 
spirits,  wakes  to  find  Gunther  protesting  his  love  for  her, 
which  she  accepts,  thinking  him  Sigurd,  in  a  brilliant  aria 
("  Vetu  de  Fer,  la  visiere  Baissee  "),  followed  by  a  powerful 
duet.  The  scene  changes,  and  Hagen  announces  to  the  people 
the  forthcoming  nuptials  of  Gunther  and  Brunehild,  accom- 
panied by  pageantry  music  and  triumphal  march  ("  Semons 
ces  Bords  de  Jones  et  de  Rameaux  Fleuris  "),  and  followed  by 
a  brilliant  ballet,  after  which  the  King  prepares  to  go  to  the 
sacred  grove.  At  this  instant  Sigurd  appears  and  claims 
Hilda  ("  Roi  Gunther,  digne  Fils  des  Heros  ").  Gunther  con- 
sents and  bids  Brunehild  join  their  hands.  As  she  does  so, 
both  Brunehild  and  Sigurd  exclaim  that  their  hands  burn.  The 
act  closes  with  the  brilliant  wedding  march  to  the  grove 
("  Frappons  les  Airs  joyeux  "). 

In  the  last  act  the  people  are  told  that  Brunehild  is  suffer- 
ing from  a  mysterious  malady,  and  they  shrink  away  from  her 
whenever  she  appears.  In  a  long  and  powerful  scena  ("  O 
Palais  radieux  de  la  voiate  etoilee  ")  she  confesses  her  love 
for  Sigurd  and  implores  Odin  to  destroy  her.  Hilda  seeks 
to  comfort  her,  but  Brunehild  observes  she  is  wearing  a  girdle 
which  Sigurd  took  from  her  on  the  night  of  her  deliverance. 
She  realizes  the  trick  played  upon  her,  and  an  excited  scena 
of  jealousy  follows  ("Sigurd  m'aime !  Si,  brisant  ma 
chaine  ").  Brunehild  dispels  the  influence  of  Uta's  potion 
with  a  charm,  and  Sigurd's  love  changes.  After  a  powerful 
and  most  passionate  duet  with  Brunehild  ("Avec  ces  Fleurs 
que  I'eau  traine  en  courant"),  Sigurd  goes  hunting  with 
Gunther.  Hilda  offers  to  save  Sigurd  from  death  at  the 
hands  of  his  rival  if  Brunehild  will  reject  his  love,  but  while 
she  hesitates,  Gunther  slays  him,  and  his  body  is  brought 
in.  Brunehild  mounts  the  funeral  pyre  and  a  powerful 
apotheosis  closes  the  opera  ("Oublions  les  Maux  soufferts  "), 
as  their  spirits  are  borne  upward  to  paradise  to  the  accom- 
paniment of  the  celestial  choir  ('1  Pour  vous  les  Cieux  ouvert  "). 


ROSSINI    (GIOACCHINI    ANTONIO) 

The  Barber  of  Seville 

"TL  Barbiere  di  Siviglia,"  opera  bouffe  in  two  acts,  words  by 
J.   Sterbini,   founded  on   Beaumarchais's   comedy,   was   first 
produced  at  the  Argentina  Theatre,  Rome,  February  5,  1816, 
with  the  following  cast: 

Rosina Mme.  Giorgi  Righetti. 

Berta Mile.  Rossi. 

Figaro Sig.  Luioi  Zamboni. 

Count  Almaviva Sig.  Garcia. 

Bartolo Sig.  Botticelli. 

Basilio Sig.  Vittarelu. 

The  story  of  the  writing  of  "  The  Barber  of  Seville  "  is 
of  more  than  ordinary  interest.  Rossini  had  engaged  to  write 
two  operas  for  the  Roman  Carnival  of  1816.  The  first  was 
brought  out  December  26,  1815,  and  the  same  day  he  bound 
himself  to  furnish  the  second  by  January  20,  1816,  with  no 
knowledge  of  what  the  libretto  would  be.  Sterbini  furnished 
him  with  the  story  of  the  "  Barber  "  by  piecemeal,  and  as  fast 
as  the  verses  were  given  him  he  wrote  the  music.  The  whole 
work  was  finished  in  less  than  three  weeks.  Its  original  title 
was  "  Almaviva,  ossia  I'inutile  precauzione,"  to  distinguish  it 
from  Paisiello's  "  Barber  of  Seville."  The  original  overture 
was  lost  in  some  manner,  and  that  of  "  Aureliano  "  substituted. 
In  the  scene  beneath  Rosina's  balcony,  Garcia  introduced  a 
Spanish  air  of  his  own  which  failed,  and  before  the  second 
performance  Rossini  wrote  the  beautiful  cavatina,  "  Ecco 
ridente  il  cielo  "  in  its  place,  the  melody  borrowed  from  the 
opening  chorus  of  his  "  Aureliano,"  and  that  in  turn  from  his 


M6  THE    STANDARD    OPERAS 

"  Giro  in  Babilonia."  The  subject  of  the  effective  trio  ("  Zitti, 
zitti  ")  was  taken  from  Haydn's  "  Seasons,"  and  the  aria  sung 
by  the  duenna  Berta  ("  II  vecchietto  cerca  moglie  "),  from 
a  Russian  melody  he  had  heard  a  lady  sing  in  Rome  and 
introduced  for  her  sake.  For  the  music-lesson  scene  Rossini 
wrote  a  trio  which  has  been  lost;  and  thus  an  opportunity 
has  been  given  Rosinas  to  interpolate  what  they  please. 

The  scene  of  the  opera  is  laid  at  Seville,  Spain.  Count 
Almaviva  has  fallen  in  love  with  Rosina,  the  ward  of  Dr. 
Bartolo,  with  whom  she  resides,  and  who  wishes  to  marry  her 
himself.  After  serenading  his  mistress,  who  knows  him  only 
by  the  name  of  Count  Lindoro,  he  prevails  upon  Figaro,  the 
factotum  of  the  place,  to  bring  about  an  interview  with  her. 
In  spite  of  her  guardian's  watchfulness,  as  well  as  that  of 
Don  Basilio,  her  music  teacher,  who  is  helping  Bartolo  in  his 
schemes,  she  informs  the  Count  by  letter  that  she  returns  his 
passion.  With  F'igaro's  help  he  succeeds  in  gaining  admis- 
sion to  the  house  disguised  as  a  drunken  dragoon,  but  this 
stratagem  is  foiled  by  the  entrance  of  the  guards,  who  arrest 
him.  A  second  time  he  secures  admission,  disguised  as  a 
music  teacher,  and  pretending  that  he  has  been  sent  by  Don 
Basilio,  who  is  ill,  to  take  his  place.  To  get  into  Bartolo's 
confidence  he  produces  Rosina's  letter  to  himself,  and  promises 
to  persuade  her  that  the  letter  has  been  given  him  by  a  mis- 
tress of  the  Count,  and  thus  break  off  the  connection  between 
the  two.  By  this  means  he  secures  the  desired  interview,  and 
an  elopement  and  private  marriage  are  planned.  In  the  midst 
of  the  arrangements,  however,  Don  Basilio  puts  in  an  appear- 
ance, and  the  disconcerted  lover  makes  good  his  escape.  Mean- 
while Bartolo,  who  has  Rosina's  letter,  succeeds  in  arousing 
the  jealousy  of  his  ward  with  it,  who  thereupon  discloses  the 
proposed  elopement  and  promises  to  marry  her  guardian.  At 
the  time  set  for  the  elopement  the  Count  and  Figaro  appear. 
A  reconciliation  is  easily  effected,  a  notary  is  at  hand,  and 
they  are  married  just  as  Bartolo  makes  his  appearance  with 
officers  to  arrest  the  Count.  Mutual  explanations  occur,  how- 
ever, and  all  ends  happily. 

The  first  act  opens  after  a  short  chorus,  with  the  serenade 


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ROSSINI  247 

("  Ecco  ridente  in  Cielo  "),  the  most  beautiful  song  in  the 
opera.  It  begins  with  a  sweet  and  expressive  largo  and  con- 
cludes with  a  florid  allegro,  and  is  followed  by  a  chorus  in 
which  the  serenaders  are  dismissed.  In  the  second  scene 
Figaro  enters,  and  after  some  brief  recitatives  sings  the  cele- 
brated buffo  aria  ("  Largo  al  factotum  "),  in  which  he  gives 
an  account  of  his  numerous  avocations.  The  aria  is  full  of  life 
and  gayety,  and  wonderfully  adapted  to  the  style  of  the 
mercurial  Figaro.  A  light  and  lively  duet  between  Figaro 
and  the  Count,  closing  with  the  sprightly  melody,  "  Ah !  die 
d'  Amore,"  leads  up  to  the  chamber  aria  of  Rosina,  so  well 
known  on  the  concert  stage  ("  Una  Voce  poco  fa  "),  which  is 
not  only  very  expressive  and  of  great  compass,  but  is  remark- 
ably rich  in  ornamentation.  A  short  dialogue  in  recitative 
then  occurs  between  Bartolo  and  Basilio,  in  which  they  plot 
to  circumvent  Rosina  by  calumny,  which  gives  occasion  for 
the  Calumny  aria,  as  it  is  generally  known  ("  La  Calunnia  "), 
a  very  sonorous  bass  solo,  sung  by  Basilio.  Another  dialogue 
follows  between  Figaro  and  Rosina,  leading  to  the  florid  duet 
("  E  il  Maestro  io  faccio  ").  A  third  dialogue  follows  between 
Rosina  and  Bartolo,  ending  in  a  bass  aria  ("  Non  piu  tacete  "), 
very  similar  in  its  general  style  to  the  Calumny  song,  but 
usually  omitted  in  performances.  In  the  tenth  scene  the  Count 
arrives  disguised  as  the  drunken  soldier,  and  the  finale  begins. 
It  is  composed  of  three  scenes  very  ingeniously  arranged, 
and  full  of  glittering  dialogue  and  very  melodious  passages. 

The  second  act  opens  with  a  soliloquy  by  Bartolo  ("  Ma 
vedi  il  mio  Destino  "),  in  which  he  gives  vent  to  his  suspicions. 
It  is  interrupted  at  last  by  a  duet  with  the  Count,  in  which 
the  two  characters  are  strikingly  set  off  by  the  music.  The 
music-lesson  scene  follows,  in  which  the  artist  personating 
Rosina  is  given  an  opportunity  for  interpolation.  In  the  next 
scene  occurs  a  dialogue  quintet,  which  is  followed  by  a  long 
aria  ("  Sempre  gridi  ")  by  the  duenna  Berta,  called  by  the 
Italians  the  "  Aria  di  Sorbetto,"  because  the  people  used  to 
eat  ices  while  it  was  sung,  reminding  one  of  the  great  aria 
from  "  Tancredi,"  "  Di  tanti  palpiti,"  which  they  called  the 
"  aria  dei  rizzi,"  because  Rossini  composed  it  while  cooking 


248  THE    STANDARD    OPERAS 

his  rice.  In  the  eighth  scene,  after  a  long  recitative,  an 
instrumental  prelude  occurs,  representing  a  stormy  night,  fol- 
lowed by  a  recitative  in  which  the  Count  reveals  himself, 
leading  up  to  a  florid  trio,  and  this  in  turn  to  the  elegant 
terzetto  ("  Zitti,  zitti").  A  bravura  and  finale  of  light  and 
graceful  melody  close  the  opera. 


S  emir  amide 

"  Semiramide,"  lyric  tragedy  in  two  acts,  words  by  Gaetano 
Rossi,  the  subject  taken  from  Voltaire's  "  Semiramis,"  was 
first  produced  at  the  Fenice  Theatre,  Venice,  February  3, 
1823,  with  the  following  cast: 

Semiramide Mme.  Rossini-Colbran. 

Arsaces Mme.  Makiani. 

Idreno Mr.  Sinclair. 

Assur Sig.  Galli. 

Oroe Sig.  Maeiani. 

On  the  9th  of  July  it  was  produced  in  French  at  the 
Academic,  Paris,  as  "  Semiramis,"  with  Carlotta  Marchisio  as 
Semiramide,  Barbara,  her  sister,  as  Arsaces,  and  M.  Obin  as 
Assur.  At  Rossini's  request  M.  Carafa  arranged  the  recita- 
tives and  wrote  the  ballet  music.  "  Semiramide  "  was  the  last 
opera  Rossini  wrote  for  Italy;  and  so  far  did  he  depart  from 
the  conventional  Italian  style,  that  he  was  charged  with  imi- 
tating the  German.  It  was  probably  for  this  reason  that  the 
opera  when  first  performed  did  not  meet  with  a  kindly  re- 
ception from  the  Venetians.  Although  he  was  occupied  six 
months  in  negotiating  for  his  stipulated  price  (one  thousand 
dollars),  he  wrote  the  opera  in  three  weeks.  Of  its  first 
performance,  a  correspondent  of  the  "  Harmonicon  "  (a  con- 
temporary musical  periodical),  who  was  present,  writes:  "  The 
first  act,  which  lasted  two  hours  and  fifteen  minutes,  was 
received  very  coldly,  with  the  exception  of  one  passage  in  the 
overture,  which  overture,  however,  was  unconscionably  long. 
The  second  act,  which  lasted  two  hours  and  a  half,  began  to 
please  in  an   air  of  Mariani,  but  the   applause   was   rather 


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o 
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o 


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o 


ROSSINI  249 

directed  to  this  favorite  singer.  After  this  a  duet  between 
her  and  Colbran,  together  with  an  air  of  Galli,  and  particu- 
larly a  terzetto  between  him  and  the  two  ladies,  were  well 
received.  Rossini  was  also  called  for  at  the  end  of  the  second 
act." 

The  scene  of  the  opera  is  laid  in  Babylon,  and  the  story 
briefly  told  is  as  follows:  Ninus,  the  king  of  Babylon,  has 
been  murdered  by  his  Queen,  Semiramis,  aided  by  Assur, 
a  prince  enamoured  of  her  and  aspiring  to  the  throne.  One 
of  the  Queen's  warriors,  Arsaces,  supposed  to  be  of  Scythian 
origin,  but  in  reality  her  own  son,  returns  from  a  foreign 
expedition  and  is  loaded  with  honors  for  the  victory  he  has 
won.  Semiramis,  ignorant  of  his  parentage,  has  a  secret  pas- 
sion for  him,  he  in  the  meantime  being  devoted  to  Azema, 
one  of  the  Princesses  royal.  As  all  gather  together  in  the 
temple  to  swear  allegiance  to  the  Queen,  the  gates  of  Ninus's 
tomb  suddenly  open,  and  his  ghost  appears  and  announces 
that  Arsaces  will  be  the  successor  to  the  Crown.  At  midnight 
Semiramis,  Assur,  and  Arsaces  meet  at  the  tomb,  and  by  mis- 
take Assur  stabs  her  instead  of  Arsaces,  who  in  turn  kills 
Assur,  and,  all  obstacles  being  removed,  is  united  to  Azema 
and  ascends  the  throne. 

An  introductory  chorus  of  Babylonians  and  a  terzetto  by 
Idreno,  Assur,  and  Oroe  open  the  opera  and  lead  up  to  the 
first  appearance  of  Semiramis,  which  is  followed  by  a  very 
dramatic  quartet  ("  Di  tanti  Regi  ").  In  the  fourth  scene 
Arsaces  has  a  brilliant  aria  ("  O!  come  da  quel  di  "),  which 
also  did  service  in  one  or  two  of  Rossini's  other  operas,  and 
is  followed  by  an  animated  duet  ("  Bella  Imago  degli  dei  ") 
between  himself  and  Assur.  The  eighth  scene  is  introduced 
by  a  graceful  female  chorus  which  leads  to  Semiramis's  bril- 
liant and  well-known  aria  ("  Bel  raggio  ").  In  the  tenth  scene 
occurs  an  elegant  duet  ("  Serbami  ognor  si  fido  "),  followed  in 
the  next  scene  by  a  stately  priests'  march  and  chorus  ("  Ergi 
omai  la  Fronte  altera!"),  set  to  ecclesiastical  harmony  and 
accompanied  by  full  military  band  as  well  as  orchestra,  this 
being  the  first  instance  where  a  military  band  was  used  in 
Italian  opera.      It  leads   to   the   finale,   where   Semiramis   on 


250  THE    STANDARD    OPERAS 

her  throne  announces  to  her  people  her  choice  for  their  future 
king.  The  oath  of  allegiance  follows  in  an  impressive  quartet 
with  chorus  ("  Giuro  al  numi  "),  and  a  defiant  aria  by  the 
Queen  leads  to  the  sudden  appearance  of  the  ghost  of  Ninus, 
accompanied  by  characteristic  music  repeated  in  quintet  with 
chorus.  As  the  ghost  speaks,  the  statue  scene  in  "  Don 
Giovanni  "  is  inevitably  recalled,  especially  in  some  phrases 
which  are  literally  copied. 

The  second  act  opens  with  a  vindictively  passionate  duet 
("  Assur,  i  cenni  miei  ")  between  Assur  and  Semiramis,  closing 
with  a  fierce  outburst  of  hatred  ("  La  Forza  primiera  ").     The 
scene  is  a  very  long  and  spirited  one,  and  is  followed  by  a 
second  chorus  of  priests,  leading  to  a  great  aria  with  chorus 
("Ah!    tu  gelar  mi   fai  ")    for  Arsaces.      In  the   fifth  scene 
occurs  a  lona:  duet  between  Arsaces  and  Semiramis,  the  second 
part  of  which  ("Giorno  d'  Orrore  ")  is  the  strongest  number 
in  the  opera.      Though  intensely   passionate  in  its   tone,  the 
music  is  smooth  and  flowing  and  very  florid  for  both  voices. 
The  seventh  scene  is  composed  of  a  scena,  aria,  and  chorus, 
followed  by  still  another  chorus  in  the  mausoleum.     Semiramis 
sings  a  prayer  of  great  pathos  and  beauty  ("  Al  mio  pregar  "). 
A    terzetto    ("L'usato    ardir "),    which    like    the    mausoleum 
chorus  is  based  upon  an  aria  from  Mozart's  "  Cosi  fan  tutti," 
closes  the  opera.     "  The  Harmonicon,"  to  which  reference  has 
already  been  made,  in  an  analysis  of  the  work,  has  the  fol- 
lowing   apt    criticism:    "  It    has    been    said,    and    truly,    that 
'  Semiramide  '  is  composed  in  the  German  style,  but  it  is  the 
German  style  exaggerated.      Rossini  is  become  a  convert  to 
this  school,  and  his  conversion  does  his  judgment  credit,  though 
like  all  proselytes  he  passes  into  extremes.     Not  satisfied  with 
discarding  the   meagre   accompaniments   of   the   Italian   com- 
posers, he  even  goes   far  beyond  the  tramontane  masters  in 
the  multitude  and  use  of  instruments,  and  frequently  smothers 
his  concerted  pieces  and  choruses  by  the  overAvhelming  weight 
of  his  orchestra."     But  what  would  the  "  Harmonicon  "  have 
said,  could  it  have  had  Wagner's  or  Richard  Strauss's  instru- 
mentation before  it? 


ROSSINI  251 


William  Tell 

"  William  Tell,"  opera  in  three  acts,  words  by  fitienne 
Jouy  and  Hippolyte  Bis,  the  subject  taken  from  Schiller's 
drama  of  the  same  name,  was  first  produced  at  the  Academie, 
Paris,  August  3,  1829,  with  the  following  cast: 

Mathilde Mme.  Damoreau-Cinti. 

Jemmy Mme.  Dabodie. 

Eedung Mile.  Mori. 

Arnold M.  Nourrit. 

Walter M.  Levasseub. 

Tell M.  Dabodie. 

Ruodi M.  DupoNT. 

Rodolphe M.  Massol. 

Gessler M.  Prevost. 

Leutold M.  Pkevot. 

Rossini  wrote  for  Paris  only  two  operas,  "  Le  Comte  Ory  " 
and  "  William  Tell,"  —  the  latter  his  masterpiece  in  the  seri- 
ous style.  The  libretto  was  first  prepared  by  M.  Jouy,  but 
it  was  so  bad  that  M.  Bis  was  called  in,  and  to  him  is  due 
the  whole  of  the  second  act.  Even  after  the  two  authors 
had  changed  and  revised  it,  Rossini  had  to  alter  it  in  many 
places.  When  it  was  first  performed  the  weakness  of  the 
drama  was  at  once  recognized,  though  its  music  was  warmly 
welcomed,  especially  by  the  critical.  It  was  presented  fifty- 
six  times  in  its  original  form,  and  was  then  cut  down  to  three 
acts,  the  original  third  act  being  omitted  and  the  fourth  and 
fifth  condensed  into  one.  For  three  years  after  this  time  the 
second  act  alone  was  performed  in  Paris  ;  but  when  M.  Duprez 
made  his  debut  in  the  part  of  Arnold,  a  fresh  enthusiasm  was 
aroused,  and  there  was  a  genuine  Tell  revival. 

The  scene  of  the  opera  is  laid  in  Switzerland,  period,  the 
thirteenth  century,  and  the  action  closely  follows  the  historical 
narrative.  The  disaffection  which  has  arisen  among  the  Swiss, 
owing  to  the  tyranny  of  Gessler,  suddenly  comes  to  a  climax 
when  one  of  Gessler's  followers  attempts  an  outrage  upon  the 
only  daughter  of  the  herdsman  Leutold,  and  meets  his  death 
at  the  hands  of  the  indignant  father.     Leutold  seeks  protec- 


252  THE    STANDARD    OPERAS 

tion  at  the  hands  of  Tell,  who,  in  the  face  of  the  herdsman's 
pursuers,  succeeds  in  placing  him  beyond  the  reach  of  danger, 
and  this  circumstance  arouses  the  wrath  of  Gessler.  Melchtal, 
the  village  patriarch,  is  accused  by  him  of  inciting  the  people 
to  insubordination,  and  is  put  to  death.  Meanwhile  Arnold, 
his  son,  is  enamoured  of  Mathilde,  Gessler's  daughter,  and  hesi- 
tates between  love  and  duty  when  he  is  called  upon  to  avenge 
his  father's  death.  At  last  duty  prevails,  and  he  joins  his 
comrades  when  the  men  of  the  three  cantons,  who  are  loyal 
to  Tell,  meet  and  swear  death  to  the  tyrant.  In  the  last  act 
occurs  the  famous  archery  scene.  To  discover  the  leading 
offenders  Gessler  erects  a  pole  in  the  square  of  Altorf,  upon 
which  he  places  his  hat  and  commands  the  people  to  do 
homage  to  it.  Tell  refuses,  and  as  a  punishment  is  ordered 
to  shoot  an  apple  from  his  son's  head.  He  successfully  ac- 
complishes the  feat,  but  as  he  is  about  to  retire  Gessler  ob- 
serves a  second  arrow  concealed  in  his  garments,  and  inquires 
the  reason  for  it,  when  Tell  boldly  replies  it  was  intended 
for  him  in  case  the  first  had  killed  his  son.  Gessler  throws 
him  into  prison,  whereupon  Mathilde  abandons  her  father  and 
determines  to  help  in  the  rescue  of  Tell  and  his  son.  Her 
lover,  Arnold,  meanwhile,  raises  a  band  of  brave  followers 
and  accomplishes  the  rescue  himself.  After  slaying  the  tyrant 
and  freeing  his  country  Tell  returns  to  his  family,  and  Arnold 
and  Mathilde  are  united. 

The  overture  to  "  William  Tell,"  with  its  Alpine  repose,  its 
great  storm-picture,  the  stirring  "  Ranz  des  Vaches,"  and  the 
trumpet-call  to  freedom,  is  one  of  the  most  perfect  and  beauti- 
ful ever  written,  and  is  so  familiar  that  it  does  not  need 
analysis.  The  first  act  opens  with  a  delightfully  fresh  Alpine 
chorus  ("  E  il  Ciel  sereno"),  which  is  followed  by  a  pastoral 
quartet  between  a  fisherman.  Tell,  Hedwig,  and  Jemmy. 
Arnold  enters,  and  a  long  duet,  one  of  Rossini's  finest  inspira- 
tions, follows  between  Arnold  and  Tell.  The  duet  is  inter- 
rujDted  by  the  entrance  of  several  of  the  peasants  escorting 
two  brides  and  bridegrooms,  which  is  the  signal  for  a  most 
graceful  chorus  and  dance  ("  Cinto  il  crine  ").  Leutold  then 
appears,  seeking  Tell's  protection,  and  a  dramatic  finale  begins. 


ROSSINI  253 

closing  with  the  arrest  of  Melchtal,  which  leads  to  an  ensemble 
of  great  power. 

The  second  act  opens  with  a  double  chorus  of  huntsmen  and 
shepherds  ("  Qual  Silvestre  metro  intorne  "),  which  is  followed 
by  a  scena  preluding  a  charming  romanza  ("  Selva  opaco  ") 
sung  by  Mathilde.  Its  mild,  quiet  beauty  is  in  strange  con- 
trast with  the  remainder  of  this  great  act.  It  is  followed  by 
a  passionate  duet  with  Arnold,  a  second  and  still  more  pas- 
sionate duet  between  Tell  and  Walter,  which  leads  to  the 
magnificent  trio  of  the  oath  ("La  Gloria  inflammi  "),  and 
this  in  turn  is  followed  by  the  splendid  scene  of  the  gather- 
ing of  the  cantons.  For  melodic  and  harmonic  beauty  com- 
bined, the  spirited  treatment  of  masses,  and  charm  and  variety 
of  color,  this  great  scene  stands  almost  alone. 

The  last  act  opens  with  a  duet  between  Mathilde  and  Arnold, 
which  is  followed  in  the  next  scene  by  a  march  and  chorus 
as  the  multitude  gathers  in  the  square  of  Altorf,  closing  with 
a  lovely  Tyrolean  chorus  sung  by  the  sopranos  and  accom- 
panied with  the  dance.  The  dramatic  scene  of  the  archery 
follows,  and  then  Arnold  has  a  very  passionate  aria  ("  O 
muto  Asil  ").  Some  vivid  storm-music,  preluding  the  last  scene, 
and  the  final  hymn  of  freedom  ("  I  Boschi,  i  Monti  ")  close 
an  opera  which  is  unquestionably  Rossini's  masterpiece,  and 
in  which  his  musical  ability  reached  its  highest  expression. 
"Manly,  earnest,  and  mighty,"  Hanslick  calls  it;  and  the 
same  authority  claims  that  the  first  and  second  acts  belong 
to  the  most  beautiful  achievements  of  the  modern  opera. 


RUBINSTEIN    (ANTON    GREGOR) 

Nero 

NERO/'  opera  in  four  acts,  text  by  Jules  Barbier,  was 
first  produced  in  Hamburg  in  1879  —  though  it  was 
originally  intended  for  the  French  stage  —  and  in  this  country, 
in  New  York,  March  14,  1887,  by  the  American  Opera  Com- 
pany, under  the  direction  of  Theodore  Thomas,  with  the 
following  cast: 

Nero Mr.  Candidus. 

Julius  Vindex Mr.  Ludwig. 

Tigellinus Mr.  Stoddard. 

Balbillus , Mr.  Whitney. 

Saccus Mr.  Fessenden. 

Sevirus Mr.  Haadlton. 

Terpander Mr.  Lee. 

PoppcBa  Sabina Miss  Bertha  Pierson. 

Epicharis Miss  Cornelia  Van  Zanten. 

Chrysa Miss  Emma  Juch. 

Agrippina •. Miss  Agnes  Sterling. 

Lupus Miss  Pauline  L'Allemand. 

The  first  act  opens  in  the  house  of  Epicharis,  a  courtesan, 
a  rendezvous  for  the  dissolute  Roman  nobles.  The  guests 
assembled  sing  a  chorus  in  praise  of  the  establishment,  fol- 
lowed by  a  scene  in  which  Vindex,  the  Prince  of  Aquitania, 
Saccus  the  poet,  Terpander  the  citharist,  and  others  conspire 
against  Nero.  Suddenly  Chrysa,  daughter  of  Epicharis,  who 
is  ignorant  of  her  mother's  real  character  and  dwells  apart 
from  her,  rushes  in  and  implores  the  protection  of  Vindex 
from  a  crowd  of  revellers  who  have  pursued  her.  A  very 
spirited  duet  follows  in  which  the  Prince  promises  her  his 
assistance.     Upon  hearing  the  shouts  of  her  pursuers  he  con- 


RUBINSTEIN  255 

ceals  her  just  in  time  to  escape  the  masked  band,  headed  by- 
Nero  himself,  which  bursts  into  the  apartment.  The  tyrant 
demands  the  girl;  and  as  he  throws  off  his  mask  the  guests 
stand  amazed.  Saccus  at  last  breaks  the  spell  by  the  sug- 
gestion that  Nero  shall  marry  the  girl.  When  she  is  led  out, 
and  Vindex  discovers  that  Epicharis  is  her  mother,  he  no 
longer  espouses  her  cause.  Then  follows  the  music  of  the 
mock  marriage,  interspersed  with  dance  strains  and  sardonic 
choruses  by  the  courtesans  and  their  associates,  at  last  rising 
to  a  wild  bacchanalian  frenzy,  in  the  midst  of  which  Vindex 
breaks  out  in  a  spirited  song,  with  harp  accompaniment,  and 
finally  hurls  invectives  at  Nero,  as  Chrysa,  who  has  drunk  a 
narcotic  at  her  mother's  order,  falls  senseless.  The  latter 
declares  she  has  been  poisoned,  and  the  act  closes  with  a  scene 
of  great  power  in  which  Vindex  is  hurried  away  as  Nero's 
prisoner. 

The  second  act  opens  in  the  dwelling  of  Poppaea,  Nero's 
mistress,  whose  attendants  are  trying  to  console  her.  She 
has  heard  of  Nero's  new  infatuation;  but  her  apprehensions 
are  relieved  when  Balbillus,  the  astrologer,  enters  and  not  only 
announces  that  Chrysa  is  dead,  but  the  equally  grateful  news 
that  Octavia,  Nero's  wife,  has  been  condemned  to  die.  Nero 
himself  now  appears  upon  the  scene,  and  a  duet  follows  in 
which  Poppaea  reproaches  him  for  his  fickleness  and  he  seeks 
to  console  her  with  flattery.  At  its  close  the  death  of  Octavia 
is  announced,  and  Poppaea  is  appeased  by  the  prospect  of 
sharing  the  throne.  Meanwhile  Chrysa  has  fallen  into  the 
custody  of  Agrippina,  Nero's  mother,  who  keeps  close  charge 
of  her  to  further  her  own  ambitions.  During  the  interview 
between  the  tyrant  and  his  mistress,  Epicharis  rushes  in  and 
implores  Nero  to  give  up  Chrysa,  which  leads  to  a  powerful 
ensemble.  Learning  that  Chrysa  is  still  alive,  he  leaves  the 
apartment  to  find  her.  The  second  scene  is  brilliantly  spec- 
tacular. Nero  and  his  mother  appear  in  front  of  the  temple, 
followed  by  a  long  procession  to  the  music  of  a  brilliant  march. 
They  enter  the  temple.  After  a  short  episode,  in  which 
Poppaea  informs  Epicharis  of  the  refuge  Chrysa  has  found, 
the  ballet  is   given  in  the  open   square,  with  its   fascinating 


256  THE    STANDARD    OPERAS 

dances  of  warriors,  bacchantes,  jugglers,  and  buffoons,  and 
their  mimic  combats,  the  music  of  which  is  very  familiar  from 
its  frequent  performance  in  the  concert  room.  Nero  then  ap- 
pears and  announces  his  divinity  in  a  finale,  which  is  rich 
Avith  scenic,  spectacular,  and  choral  effects,  accompanied  by 
full  military  band  and  orchestra. 

The  third  act  opens  in  Chrysa's  new  asylum  of  refuge.  The 
persecuted  girl  sings  a  beautiful  prayer,  at  the  close  of  which 
Vindex  joins  her  in  a  love  duet,  which  will  always  remain 
as  one  of  the  most  refined  and  noble  products  of  Rubinstein's 
skill  in  harmony.  The  next  number  is  one  of  almost  equal 
beauty,  —  a  duet  for  Chrysa  and  Epicharis,  the  motive  of 
which  is  a  cradle  song.  Its  soothing  tones  are  interrupted  by 
the  appearance  of  Nero,  followed  by  Poppaea  and  Saccus,  the 
last  named  announcing  to  the  tyrant  that  Rome  is  in  flames, 
which  leads  up  to  a  vigorous  trio.  The  concluding  scene  is 
full  of  characteristic  music.  It  shows  us  Nero  watching  the 
fire  from  his  tower,  while  he  sings  a  hymn  ("  O  Ilion  ")  to 
the  accompaniment  of  his  lyre;  the  death  of  Chrysa,  who 
proclaims  herself  a  Christian  and  is  killed  by  the  infuriated 
populace;  and  the  fate  of  Epicharis,  who  is  crushed  beneath 
a  falling  house  as  she  mourns  for  her  daughter. 

The  fourth  act  furnishes  a  dramatic  denouement  to  the 
mournful  story.  The  tyrant,  wild  with  rage  and  frenzy,  ap- 
pears in  the  tomb  of  Augustus,  where  the  shades  of  his 
murdered  victims  terrify  him.  Saccus  enters  and  tells  him 
of  the  revolt  of  his  army  and  the  danger  which  threatens  him. 
He  rushes  out  again  and  kills  himself  on  the  highway  of  the 
Campagna,  just  as  Vindex  at  the  head  of  his  legions  comes 
up  with  him.  As  he  expires  a  cross  appears  in  the  sky  and 
a  chant  is  heard,  herald  of  the  coming  Christianity. 


Charles  Dalmores  as  Samson 

Copyright,  Alatzene 


SAINT-SAENS    (CAMILLE) 

Samson  and  Delila 

SAMSON  et  Delila,"  opera  biblique,  in  three  acts^  text  by 
Ferdinand  Lemaire,  was  first  produced  in  its  entirety 
at  Weimar,  December  2,  1 877,  with  Ferenczy  as  Samson,  Mile. 
Von  Miiller  as  Delila,  and  Mitle  as  the  High  Priest.  The 
score  of  this  opera  was  finished  in  1 872.  Two  years  later, 
Mme.  Viardot-Garcia  gave  a  private  performance  of  the  second 
act,  and  the  first  act  was  given  at  one  of  the  Colonne  concerts 
in  Paris  in  1875.  It  was  not  until  1877  that  the  whole  opera 
was  performed,  under  the  direction  of  Edouard  Lassen,  at 
Weimar.  It  was  done  at  Brussels,  April  6,  1878,  under  the 
direction  of  the  composer,  and  in  Hamburg  in  1883  with 
Frau  Sucher  as  Delila.  It  was  not  given  entire  in  France 
until  1890,  when  it  was  heard  at  Rouen  and  again  in  the  same 
year  at  Paris,  with  Mme.  Bloch  and  M.  Talazac  in  the  prin- 
cipal roles.  It  was  next  heard  in  various  French  cities  dur- 
ing 1892  and  at  last,  after  twenty  years,  was  produced  upon 
a  grand  scale  at  the  Paris  Opera  House.  It  was  first  per- 
formed in  this  country  as  an  oratorio  at  New  York,  March  25, 
1892,  under  the  direction  of  Mr.  Walter  Damrosch. 

The  first  act  opens  in  the  public  square  of  the  city  of  Gaza, 
and  the  curtain  rises  upon  a  crowd  of  Hebrews,  Samson 
among  them,  who  give  expression  to  their  dejection  in  choruses 
constructed  after  the  conventional  oratorio  methods.  Samson 
comforts  them,  however,  assures  them  of  help,  and  urges  them 
to  pray  for  deliverance.  In  the  second  scene  Abimelech, 
satrap  of  Gaza,  enters  and  mocks  at  their  prayers.  Samson 
denounces  him  as  a  blasphemer,  and  calls  upon  his  people  to 
take  up  arms  and  free  themselves.    Abimelech  attacks  him  but 


258  THE    STANDARD    OPERAS 

Samson  wrests  his  sword  from  him  and  slays  him  as  he  is 
calling  for  help.  The  Philistines  make  an  attack  but  Samson 
worsts  them.  The  third  scene  is  at  the  gates  of  the  temple 
of  Dagon.  The  High  Priest  ascends  to  the  temple,  and,  paus- 
ing by  Abimelech's  body,  urges  the  Philistines  to  avenge  his 
death.  While  they  are  hesitating  a  messenger  arrives  with 
the  tidings  that  the  Israelites  are  on  the  march  with  Samson 
at  their  head,  whereupon  the  High  Priest  curses  both  them 
and  their  leader.  As  Abimelech's  body  is  carried  away,  the  old 
Hebrew  men  and  women  enter,  followed  by  Samson  and  his 
victorious  band,  singing  choruses  of  rejoicing.  In  the  next 
scene  Delila  enters,  followed  by  Philistine  women  wearing 
garlands  of  flowers.  At  this  point  the  temptation  begins  with 
fascinating  dances  by  the  priestesses  of  Dagon  in  which  Delila 
takes  part,  the  act  closing  with  a  beautiful  aria  ("  Printemps 
qui  commence  ")  sung  by  her,  in  which  she  seeks  to  cast  her 
spells  over  Samson. 

The  second  act  discloses  Delila  richly  clad,  in  front  of  his 
dwelling.  She  sings  a  passionate  invocation  to  Love  to  aid 
her  in  her  spells,  and  in  the  next  scene  occurs  a  vigorous 
dramatic  duet  in  which  the  High  Priest  tells  her  of  the  disas- 
ter to  the  Philistines  and  strengthens  her  in  her  purpose. 
In  the  next  scene  Samson  enters,  disturbed  and  troubled.  An 
exceedingly  passionate  duet  follows  with  a  peculiarly  beautiful 
motive  for  Delila,  which  is  several  times  repeated  in  the 
progress  of  the  work.  In  the  midst  of  an  approaching  storm 
Samson  declares  his  love,  and,  as  it  breaks  in  all  its  fury, 
he  follows  her  into  her  dwelling,  which,  at  the  same  time,  is 
stealthily  approached  by   Philistine  soldiers. 

The  third  act  reveals  Samson  blinded,  in  chains,  and  with 
shorn  locks,  grinding  at  a  mill  as  a  captive,  as  the  Hebrews 
sing  their  mournful  plaints  behind  the  scenes.  Then  fol- 
lows a  pathetic  prayer  in  which  Samson  bewails  his  loss  of 
sight.  The  Philistines  enter  and  remove  Samson  and  the  scene 
changes  to  the  interior  of  Dagon's  temple,  where  the  High 
Priest  is  seen  surrounded  by  the  Philistine  leaders.  Escorted 
by  young  Philistine  women  with  wine  cups  in  their  hands, 
Delila  enters,  and  a  fascinating  ballet,  full  of  rich  Oriental 


Mile.  Gerville-Reache  as  Delila 

Copyright^  Matzene 


SAINT-SAENS  250 

color,  occupies  the  stage.  Samson  is  led  in  and  is  taunted  by 
the  High  Priest,  who  tells  him  that  if  Jehovah  will  restore 
his  sight  they  will  all  adore  His  name.  In  the  finale  Samson 
is  ordered  to  offer  oblation  to  Dagon.  A  lad  leads  him  to  a 
position  between  two  pillars.  With  an  invocation  to  the  Lord 
he  exerts  all  his  strength  and  the  temple  falls  amid  the  shrieks 
of  the  Philistines. 

It  will  be  observed  from  this  sketch  that  the  opera  story 
differs  from  the  biblical  narrative  and  that  it  has  more  of 
the  love  motive  in  it.  It  thus  gives  larger  opportunity  for 
dramatic  music  and  the  opportunities  have  been  enlarged  by 
the  use  of  motives  in  the  Wagner  manner.  This  makes  it  all 
the  more  difficult  to  select  individual  numbers  for  description. 
The  instrumentation  is  highly  colored  and  very  descriptive. 
Hervey,  in  his  biographical  sketch  of  Saint-Saens,  notes  the 
following  composition  of  the  orchestra  for  this  opera:  "  In 
addition  to  the  strings  and  usual  woodwinds  he  employs  a 
third  flute,  a  cor  anglais,  a  bass  glarinet,  a  double  bassoon, 
four  horns,  two  trumpets,  two  cornets,  three  trombones,  a  bass 
tuba,  two  ophicleides,  two  harps,  three  kettledrums,  a  grosse- 
caisse,  cymbals,  a  triangle,  a  glockenspiel,  crotales,  cas- 
tagnettes  made  of  wood  and  iron,  a  tambour  de  basque,,  and  a 
tamtam."  With  such  an  orchestral  force  in  the  hands  of  a 
master,  all  things  are  possible. 


Henry  VIII 

"  Henry  VIII,"  opera  in  four  acts,  text  by  Detroyat  and 
Silvestre,  was  first  produced  in  Paris,  March  5,  1883,  with 
Lasalle  as  the  King,  Dereim  as  Don  Gomez,  Mile.  Krauss  as 
Catherine,  and  Mile.  Richard  as  Anne.  The  first  act  opens 
in  a  hall  of  the  palace.  The  Duke  of  Norfolk  is  in  conver- 
sation with  Don  Gomez,  the  Spanish  ambassador,  who  is  ex- 
plaining to  the  Duke  that  his  presence  there  is  due  to  Queen 
Catherine,  and  his  object  is  to  be  near  to  Anne  Boleyn,  with 
whom  he  is  in  love.  It  develops  also  that  Catherine  is  aware 
of  this  attachment  and  holds  a  letter  from  Anne  Boleyn  to 


260  THE    STANDARD    OPERAS 

him  containing  assurances  of  love.  The  Duke,  however,  Avarns 
him  to  be  on  his  guard  against  the  King,  who  is  suspected  of 
desiring  Anne  Boleyn  for  himself.  At  the  close  of  the  some- 
what long  dialogue-duet,  which  is  very  skilfully  constructed, 
several  persons  enter  bringing  the  news  that  Buckingham  has 
been  condemned  to  death,  which  leads  to  an  effective  quartet 
and  ensemble.  As  the  King  enters  all  withdraw  except  Surrey, 
Norfolk,  and  Don  Gomez.  The  King  greets  the  latter  and 
engages  to  advance  his  suit,  informing  him  at  the  same  time 
that  he  is  about  to  give  Catherine  a  new  maid  of  honor.  The 
announcement  disturbs  Don  Gomez,  as  he  surmises  Anne 
Boleyn  may  be  the  maid.  In  the  next  scene  the  King  dis- 
cusses with  Surrey  the  hostility  of  the  Pope  to  his  divorce 
from  Catherine  and  sings  a  most  graceful  romanza  ("  Qui 
done  commande  "),  in  which  he  boasts  his  slavery  to  love. 
The  Queen  enters  and  in  a  light,  simple  melody  asks  the 
King  why  she  is  summoned.  He  replies  that  he  is  about  to 
present  her  with  a  new  maid  of  honor.  She  accepts  the 
gift  and  then  pleads  for  the  life  of  Buckingham,  which  the 
King  refuses.  A  very  dramatic  duet  follows,  the  Queen 
charging  him  with  the  loss  of  his  love  for  her,  the  King 
replying  that  their  marriage  is  in  violation  of  the  divine  law. 
At  the  close  of  the  duet  they  watch  the  entrance  of  the 
courtiers,  among  them  Anne  Boleyn,  accompanied  by  grace- 
ful procession  music.  With  an  expression  of  surprise  that 
she  and  Don  Gomez  are  acquainted,  the  King  presents  her 
to  the  Queen,  at  the  same  time  creating  her  Marchioness  of 
Pembroke.  The  funeral  march  of  Buckingham  is  heard  out- 
side, during  which  the  King  presses  his  suit  upon  Anne  Boleyn 
and  the  Queen  mourns  the  tragedy.  As  the  former  hears  the 
march  she  is  greatly  alarmed,  and  in  the  final  ensemble  — 
a  seven-part  chorus  with  quintet  —  the  themes  of  the  march 
are  repeated  with  a  gloomy  motif,  significant  of  the  approach- 
ing fate  of  the  new  favorite. 

The  second  act  opens  in  Richmond  Park,  with  a  graceful 
chorus  of  pages  disporting  themselves.  Don  Gomez  enters 
and  sings  a  very  dramatic  aria,  ending  in  a  climax  of 
great  power.     Anne  appears  with  court  ladies  to  the  accom- 


Tamagno  as  Samson 

Copyright,  Aimi  Dufont 


SAINT-SAENS  261 

paniment  of  a  graceful  chorus.  A  duet  between  Don  Gomez 
and  Anne  follows,  in  which  she  answers  his  reproaches  with 
assertions  of  love.  The  King  enters  and  Don  Gomez  retires 
and  another  duet  follows,  at  the  close  of  which  Anne  con- 
sents to  become  his  wife  upon  condition  of  being  made  Queen, 
A  joyous  duet  ensues,  but  before  it  closes  the  sombre  motif 
of  her  tragic  fate  is  heard  again.  A  dramatic  trio  follows 
as  the  Queen  appears  and  reproaches  Anne,  who  appeals  to 
the  King.  In  the  midst  of  the  scene,  the  papal  legate  enters 
with  unfavorable  news  from  Rome,  but  the  King  will  not 
hear  it  until  the  morrow.  A  fete  begins,  accompanied  by 
most  elaborate  and  graceful  Scotch  and  English  dance  music, 
thus  designated:  1.  Introduction  et  Entree  des  Clans;  2. 
Idylle  Ecossaise;  3.  La  Fete  des  Houblon;  4.  Danse  de  la 
Gipsy;  5.  Pas  des  Highlander;  6.  Scherzetto;  7.  Sara- 
bande,  Gigue  and  Finale. 

The  third  act  opens  with  the  interview  between  the  legate 
and  the  King,  during  which  the  latter  defies  the  wrath  of 
Rome  in  a  long  and  passionate  scene.  Then  follows  an  in- 
terview between  the  King  and  Anne  Boleyn,  in  which  his 
jealousy  is  revealed.  After  another  interview  with  the  legate, 
which  closes  with  the  King's  announcement  that  he  will 
appeal  from  Rome  to  his  people,  the  scene  changes  to  the 
Hall  of  Judgment,  the  musical  setting  of  which  is  very  stately. 
The  act  closes  with  an  imposing  ensemble,  in  which  the  people 
support  the  King,  and  the  King  proclaims  himself  head  of 
the  English  Church,  and  Anne  Boleyn,  Queen. 

The  fourth  act  discloses  Queen  Anne  in  her  apartments 
watching  a  charming  minuet  dance  in  the  gardens.  Surrey 
and  Norfolk  are  conversing  aside  about  the  King  and  his 
doubts  of  the  Queen.  Don  Gomez  enters  upon  a  special 
errand  from  Catherine  to  the  King,  and  asks  to  be  left  alone 
with  the  Queen.  In  the  dialogue  which  follows,  he  informs 
her  that  Catherine  still  has  that  compromising  letter  in  her 
possession.  The  King  enters  in  a  furious  mood,  dismisses 
Anne  and  orders  Don  Gomez  to  leave  the  country.  The 
latter  gives  the  King  Catherine's  dying  words  of  affection, 
and  they  go  to  the  castle  where  she  lies.     In  a  long  soliloquy 


262  THE    STANDARD    OPERAS 

Catherine  reveals  her  longing  for  Spain,  then  distributes  keep- 
sakes, among  them  her  Book  of  Hours,  in  which  she  places 
Anne's  fatal  letter  from  Don  Gomez.  At  this  point  Anne 
enters  with  the  intention  of  securing  the  letter.  She  begs 
for  it,  but  Catherine  refuses.  An  intensely  dramatic  scene 
follows.  The  King  enters  and  makes  every  effort  to  incite 
Catherine's  anger  against  Anne  but  fails.  With  a  last  supreme 
effort  she  throws  the  letter  into  the  fire  and  dies,  as  the 
measures  of  the  Death  March  are  heard,  and  among  them 
the  decapitation  motif,  significant  of  Anne  Boleyn's  fate. 

In  "  Henry  VIII,"  even  more  frequently  than  in  "  Sam- 
son and  Delila,"  Saint-Saens  has  used  the  Wagner  device  of 
the  leit-motif,  and  built  up  his  Avork  upon  the  basis  of  con- 
tinuous melody,  as  best  adapted  for  dramatic  effect.  This 
effect  is  particularly  apparent  in  the  many  duets  as  well  as 
in  the  ensembles  of  the  work.  It  is  intensely  dramatic 
throughout,  and  is  in  nearly  every  respect  the  composer's 
operatic  masterpiece. 


Proserpine 

"  Proserpine,"  drama  lyrique  in  four  acts,  text  by  Louis 
Gallet,  based  upon  a  dramatic  poem  entitled  "  Proserpine," 
by  M.  Auguste  Vacquerie,  was  first  produced  at  the  Opera 
Comique,  Paris,  March  14,  1887.  "Proserpine"  is  not  a 
classical  or  mythological  opera,  as  its  name  would  seem  to 
indicate,  but  a  lyric  drama  of  a  clearly  melodramatic  type. 
The  scene  passes  in  Italy  in  the  sixteenth  century.  Proser- 
pine is  a  courtesan,  in  love  with  one  Sabatino,  but  the  latter 
is  in  love  with  Angiola,  sister  of  his  friend,  Renzo,  who  ad- 
vises him  to  pay  court  to  Proserpine,  so  that  having  been 
exposed  to  temptation  he  may  be  faithful  to  Angiola.  When 
Sabatino  discovers  that  Proserpine  really  loves  him,  he  treats 
her  in  such  a  manner  that  she  becomes  furious  with  him  and 
her  fury  increases  when  she  learns  that  Sabatino  loves  an- 
other. In  order  to  avenge  herself  she  seeks  the  aid  of  a 
ruffian,  named  Squarocca,  who  is  bound  to  her  by  a  debt  of 


SAINT-SAENS  263 

gratitude,  for  she  has  released  him  when  he  was  caught  steal- 
ing in  her  palace.  Squarocca  contrives  to  seize  Angiola  as 
she  is  coming  from  a  convent  to  be  married  and  to  arrange 
so  that  Proserpine  shall  meet  her.  At  this  interview,  the 
latter  tries  to  persuade  her  not  to  marry  Sabatino.  Angiola 
resists  all  persuasion  and  as  Proserpine  is  about  to  stab  her 
she  is  rescued  by  her  brother,  Renzo.  Proserpine  subse- 
quently gains  admission  to  Sabatino's  house  and  declares  her 
passion  for  him,  but  he  spurns  her.  She  waits  for  her  re- 
venge until  Sabatino  and  Angiola  are  married,  when  she  turns 
upon  the  bride  and  stabs  her.  Seizing  her  dagger,  Sabatino 
thereupon  kills  Proserpine.  In  the  original  poem  Angiola 
dies  but  in  the  operatic  version  she  recovers. 

The  first  act  is  introduced  with  a  few  bars  of  prelude. 
Proserpine's  opening  measures  ("  En  Verite,  Messieurs  "), 
taken  up  by  her  lovers,  in  chorus,  introduce  the  pavane,  heard 
behind  the  scenes,  just  previous  to  which  Sabatino  sings  a 
fascinating  aria  ("  Ne  crains  plus  que  mon  Ame  change"). 
The  pavane  is  followed  by  a  pensive  soliloquy  for  Proserpine 
("  Amour  vrai  "),  and  this  in  turn  by  long  declamatory  duets 
between  Proserpine  and  Sabatino  and  Proserpine  and  Squa- 
rocca, the  act  closing  with  a  powerful  finale  ("  Allons,  a  nous 
la  grande  Orgie  !  "). 

The  second  act  opens  in  a  convent  with  a  simple  but  beauti- 
fully harmonized  Ave  Maria,  followed  by  a  chorus  of  the 
nuns  and  novices  ("  Un  Cavalier  a  la  Moustache  noire  ")  in 
which  they  chatter  with  Angiola  about  her  coming  marriage. 
The  next  number  of  importance  is  Sabatino's  impassioned 
love  song  to  Angiola  ("  Comment  dire  bien  ce  que  je  veux 
dire.''  "),  which  is  followed  by  a  brief  unison  trio.  The  finale 
is  extremely  effective,  being  composed  of  choruses  by  beggars, 
nuns,  pilgrims,  and  others,  interwoven  with  trios,  and  domi- 
nated by  the  strong,  high  soprano  phrases  by  Angiola. 

The  second  act  is  the  most  beautiful  and  effective  of  the 
work.  The  third  and  fourth  are  melodramatic  and  the  music 
loses  something  of  its  grace  and  delicate  finish.  The  prin- 
cipal numbers  of  the  third  act  are  Proserpine's  invocation 
("Ah!  je  n'avais  que  de  1' Amour  ")  ;    Squarocca's  character- 


264  THE    STANDARD    OPERAS 

istic  drinking-song  ("  Vin  qui  rougis  ma  Trogne  "),  and  the 
melodramatic  finale ;  and  of  the  fourth  act,  the  tenor  solo 
for  Sabatino  ("  Puis-je  croire  que  c'est  bien  vrai").  and  the 
long  duet  between  Sabatino  and  Proserpine,  leading  up  to  the 
tragic  denouement.  There  are  delightful  passages  all  through 
the  work,  but  much  of  the  musical  effect  of  the  last  two  acts 
is  sacrificed  to  the  demands  of  the  absurd  and  sensational 
melodrama. 


SMETANA    (FRIEDRICH) 

The  Bartered  Bride 

PRODANA  Nevesla  "  ("  The  Bartered  Bride  ")  was  first 
produced  at  Prague  in  1866;  at  the  Vienna  exposition 
in  1892;  in  London  in  1895;  and  in  this  country  in  1908, 
though  the  overture  had  been  frequently  played  in  American 
concert-rooms  before  that  time.  The  libretto  was  written  by 
Sabina  and  the  opera  is  arranged  in  three  acts.  The  saddest 
event  connected  with  the  work  is  the  fact  that  while  it  is  the 
composer's  masterpiece  he  died  in  an  insane  asylum  without 
hearing  it. 

The  first  act  opens  in  a  Bohemian  village  where  the  Kir- 
mess  festival  is  in  progress.  Mary,  daughter  of  a  rich  peasant, 
is  there  but  takes  no  part  in  it.  Her  parents  have  arranged 
her  marriage  to  Wenzel,  son  of  Micha,  another  rich  peasant, 
whom  she  has  never  seen,  and  while  she  is  in  love  with  Hans, 
a  servant  of  her  father's.  Following  the  Bohemian  practice, 
Wenzel  has  not  proposed  to  Mary  but  left  the  business  to 
Kezul,  a  professional  marriage  broker,  who  has  carried  on 
the  negotiations.  When  the  broker  approaches  Mary,  how- 
ever, and  acquaints  her  with  Wenzel's  proposal  she  rejects 
it  and  declares  her  love  for  Hans. 

In  the  second  act  Wenzel  makes  a  personal  offer.  Mary 
not  only  rejects  him  but  upbraids  him  for  offering  to  marry 
a  girl  whom  he  does  not  love  and  at  last  makes  him  promise 
to  abandon  the  idea  of  marriage  with  her.  Kezul  in  the 
meantime  has  offered  Hans  money  if  he  will  give  Mary  up. 
When  he  learns  that  his  rival  is  Micha's  son  he  agrees  to 
sign  a  contract  providing  that  none  other  than  Micha's  son 
shall  marry  Mary.  Kezul  agrees  and  pays  Hans  his  price 
and  the  latter  publicly  renounces  all  claim  upon  her. 


266  THE    STANDARD    OPERAS 

The  third  act  opens  with  a  tight  rope  performance  and 
dance.  Wenzel  falls  in  love  with  Esmeralda,  a  Spanish 
dancer,  and  to  be  near  her  accepts  an  offer  of  the  manager 
to  take  the  part  of  a  dancing  bear.  As  he  is  assuming  his 
costume  his  parents  appear  and  demand  that  he  shall  sign 
the  marriage  contract  with  Mary  which  he  refuses  to  do. 
Mary  in  the  meantime  is  overcome  with  sorrow,  for  Kezul 
has  shown  her  Hans'  deed  of  renunciation.  She  still  refuses 
to  marry  any  one  else  although  Wenzel,  tired  of  the  dancing 
bear  business,  has  renewed  his  advances.  Hans  now  appears 
and  she  upbraids  him  for  his  faithlessness,  but  he  summons 
the  villagers  and  tells  them  it  is  his  wish  she  shall  marry 
Micha's  son.  Mary  is  now  in  despair  and  declares  she  will 
marry  Wenzel  as  her  parents  and  Hans  desire.  Hans  then 
steps  before  Micha  who  recognizes  him  as  his  son  by  a  former 
marriage.  Disgusted  at  the  prospect  of  a  step-mother,  Hans 
had  left  home  and  gone  into  service  with  Mary's  father.  He 
claims  Mary  upon  the  ground  that  under  his  contract  with 
Kezul  she  belongs  to  him.  They  are  married  and  live  happily 
ever  after.  Wenzel  returns  to  his  antics  as  a  show  bear  and 
is  killed  in  one  of  them. 

"  The  Bartered  Bride  "  is  one  of  the  most  delightful  of 
comic  operas.  It  abounds  in  Bohemian  folk-songs  and  is  re- 
plete with  melodies.  It  is  lively  and  vivacious  throughout 
and  notwithstanding  its  strong  local  color,  has  been  enjoyed 
wherever  it  has  been  performed,  especially  in  Germany.  With 
regard  to  Smetana's  earlier  operas  the  critics  had  claimed 
that  he  could  write  only  Czech  music.  It  is  said  that  he 
wrote  "  The  Bartered  Bride "  to  disprove  this  accusation. 
He  certainly  succeeded  for  its  most  enthusiastic  successes 
were  achieved  in  Vienna  and  Berlin. 


STRAUSS    (JOHANN) 

The  Merry  War 

'TflHE  Merry  War/'  opera  comique,  in  three  acts,  text  by 
M.  Zell  and  Genee,  was  first  produced  in  Vienna,  Novem- 
ber 25,  1881.  The  scene  is  laid  in  Genoa  in  the  eighteenth 
century.  In  analyzing  this,  as  well  as  the  other  Strauss 
operettas  contained  in  this  volume,  it  is  hardly  needful  to  go 
into  very  close  detail.  They  may  be  termed  merry  stories 
set  to  merry  and  fascinating  dance  rhythms.  "  The  Merry 
War  "  is  not  a  very  serious  one,  as  may  be  inferred  from  its 
title.  It  is  a  quarrel  between  two  petty  states,  Genoa  and 
Massa  Carrara,  growing  out  of  the  fact  that  a  popular 
dancer  has  made  simultaneous  engagements  at  the  theatres 
of  each.  Both  claim  her,  and  the  question  at  issue  is  at  which 
theatre  the  dancer  shall  appear.  One  harmless  hand  grenade 
is  thrown  from  either  side  with  monotonous  regularity  each 
day,  and  "  The  Merry  War  "  is  without  interesting  incident 
until  the  pretty  Countess  Violetta  appears  in  one  of  the 
camps.  She  is  seeking  to  make  her  way  in  disguise  into  the 
city  of  the  other  camp,  to  take  command  of  the  citadel. 
Umberto,  the  colonel  commanding,  is  deceived  by  her,  and 
allows  her  to  pass  through  the  lines.  When  informed  of  the 
deception  he  determines  to  take  his  revenge  by  marrying  her. 
Understanding  that  she  is  to  marry  the  Duke  de  Limburg  by 
proxy,  he  impersonates  the  Duke  and  is  married  to  Violetta 
without  arousing  her  suspicions.  He  is  assisted  in  his  scheme 
by  Balthasar  Groats,  a  Dutch  speculator  in  tulip  bulbs,  whom 
the  soldiers  have  arrested,  thinking  him  a  spy,  and  who  is 
naturally  willing  to  do  anything  for  the  Colonel  to  get  him 
out  of  his  predicament.     Complications  arise,  however,  when 


268  THE    STANDARD    OPERAS 

Groats's  wife  appears  and  becomes  jealous,  also  because  of 
Violetta's  antipathy  towards  her  supposed  husband  and  her 
affection  for  Umberto.  All  these  matters  are  arranged  satis- 
factorily, however,  when  there  is  an  opportunity  for  explana- 
tion, and  a  treaty  of  peace  is  signed  between  the  two  states, 
when  it  is  found  that  the  cause  of  the  "  Merry  War  "  will  not 
keep  her  engagement  with  either  theatre. 

The  music  of  "  The  Merry  War  "  is  light  and  gay  through- 
out. Like  all  the  rest  of  the  Strauss  operas,  it  might  be  said 
that  it  is  a  collection  of  marches  and  waltzes,  and  a  repeti- 
tion of  dance  music  which  has  done  good  service  in  ball- 
rooms, strung  upon  the  slight  thread  of  a  story.  Its  most 
taking  numbers  are  Umberto's  couplets  ("  Till  now  no  Drop 
of  Blood");  Balthasar's  comical  song  ("General,  ho!") 
and  his  tulip  song  ("  From  Holland  to  Florence  in  Peace 
we  were  going");  Violetta's  arietta  ("In  vain,  I  cannot 
fly  ")  ;  the  dainty  duet  for  Violetta  and  Umberto  ("  Please 
do  ") ;  Else's  romantic  song  ("  I  wandered  on  ")  ;  the  en- 
semble and  Dutch  song  by  Artemisia  ("  The  much  admired 
One  ")  ;  Umberto's  love  song  ("  The  Night  begins  to  Creep  ")  ; 
Violetta's  song  ("  I  am  yet  Commander  for  To-day"),  lead- 
ing to  a  terzetto  and  spirited  final  chorus  ("Of  their  warlike 
Renown  "). 


The  Bat  (Die  Fledermaus) 

"  The  Bat,"  opera  comique  in  three  acts,  text  by  Haffner 
and  Genee,  was  first  produced  in  Vienna  in  July,  1874.  It 
is  founded  upon  Meilhac  and  Halevy's  "  Le  Revillon."  The 
scene  opens  with  Adele,  maid  of  the  Baroness  Rosalind,  seek- 
ing permission  to  visit  her  sister  Ida,  a  ballet-dancer,  who 
is  to  be  at  a  masked  ball  given  by  Prince  Orlofsky,  a  Russian 
millionaire.  She  receives  permission,  and  after  she  is  gone, 
Dr.  Falke,  a  notary,  who  has  arranged  the  ball,  calls  at  the 
house  of  the  Baron  Eisenstein,  and  induces  him  to  go  to  it 
before  going  to  jail,  to  which  he  has  been  sentenced  for  con- 
tempt of  court.     The  purpose  of  the  doctor  is  to  seek  revenge 


Sembrich  as  Rosalind 

Copyright,  Ainie  Dnpont 


STRAUSS  269 

for  his  shabby  treatment  by  the  Baron  sometime  before  at 
a  masquerade  which  they  had  attended,  —  Eisenstein  dressed 
as  a  butterfly,  and  Falke  as  a  bat.  The  doctor  then  notifies 
the  Baroness  that  her  husband  will  be  at  the  ball.  She 
thereupon  decides  that  she  will  also  be  present.  An  amusing 
scene  occurs  when  the  Baron  seeks  to  pass  himself  off  as  a 
French  marquis,  and  pays  his  devotions  to  the  ladies,  but  is 
quite  astonished  to  find  his  wife  there,  flirting  with  an  old 
lover.  There  are  further  complications  caused  by  Falke,  who 
manages  to  have  Alfred,  the  singing-master,  in  the  Baroness' 
apartments  when  the  sheriff  comes  to  arrest  the  Baron,  and 
arrests  Alfred,  supposing  him  to  be  Eisenstein.  In  the  last 
act,  hoAvever,  all  the  complications  are  disentangled,  and  every- 
thing ends  happily. 

It  would  be  impossible  to  name  the  conspicuous  numbers 
in  this  animated  and  sprightly  work  without  making  a  cata- 
logue of  them  all.  The  opera  is  a  grand  potpourri  of  waltz 
and  polka  motifs  and  fresh,  bright  melodies.  The  composer 
does  not  linger  long  with  the  dialogue,  but  goes  from  one 
waltz  melody  to  another  in  a  most  bewildering  manner,  in- 
terspersing them  with  romanzas,  drinking-songs,  czardas,  an 
almost  endless  variety  of  dance  rhythms  and  choruses  of  a 
brilliant  sort.  It  is  a  charming  mixture  of  Viennese  gayety 
and  French  drollery,  and,  like  all  his  operettas,  is  the  very 
essence  of  the  dance. 


The  Queen's  Lace  Handkerchief 

"  The  Queen's  Lace  Handkerchief,"  opera  comique,  in  three 
acts,  text  by  Genee  and  Bohrmann-Riegen,  was  first  produced 
in  Vienna,  October  2,  1880.  The  romance  of  its  story  has 
helped  to  make  this  opera  one  of  the  most  popular  of  Strauss's 
works.  The  action  begins  at  a  time  when  Portugal  is  ruled 
by  a  ministry  whose  premier  is  in  league  with  Philip  II  of 
Spain,  and  who,  to  keep  possession  of  power,  has  fomented 
trouble  between  the  young  Queen  and  King,  and  encouraged 
the  latter  in  all  kinds  of  dissipations.     At  this  time  Cervantes, 


270  THE    STANDARD    OPERAS 

the  poet,  who  has  been  banished  from  Spain,  is  a  captain  in 
the  Royal  Guards,  and  in  love  with  Irene,  a  lady-in-waiting. 
These  two  are  good  friends  of  both  the  King  and  Queen,  and 
are  eager  to  depose  the  ministry.  Cervantes  is  reader  to  the 
Queen,  and  the  latter,  having  a  sentimental  attachment  for 
him,  writes  upon  her  handkerchief  ("  A  queen  doth  love  thee, 
yet  art  thou  no  king"),  and  placing  it  in  a  volume  of  "Don 
Quixote,"  hands  it  to  him.  The  book  is  seized,  and  as  "  Don 
Quixote  "  is  ^linister  of  War  and  "  Sancho  Panza  "  Minister 
of  Instruction,  Cervantes  is  arrested  for  libel  and  treason. 
Irene  and  the  King,  however,  save  him  by  proving  him  insane, 
and  the  King  and  Queen  ascend  the  throne.  In  desperation 
the  Premier  hands  the  King  the  handkerchief  with  the  in- 
scription on  it,  which  leads  to  the  rearrest  of  Cervantes  and 
the  banishment  of  the  Queen  to  a  convent.  Cervantes  escapes, 
however,  and  joins  some  brigands.  They  capture  the  Queen 
on  her  way  to  the  convent,  and  in  the  disguise  of  the  host 
and  waiting-maid  of  an  inn,  they  serve  the  King,  who  hap- 
pens there  on  a  hunting  trip.  Everything  is  satisfactorily 
accounted  for,  and  the  inscription  on  the  handkerchief  is 
explained  as  a  message  which  the  Queen  sent  to  the  King 
by  Cervantes. 

The  music  is  light  and  brilliant.  Much  of  it  is  in  the 
waltz  tempo,  and  the  choral  work  is  a  strong  feature.  Its 
best  numbers  are  the  Queen's  humorous  romanza  ("  It  was  a 
wondrous  fair  and  starry  Night");  another  humorous  num- 
ber, the  King's  truffle  song  ("  Such  Dish  by  Man  not  oft  is 
seen ") ;  the  epicurean  duet  for  the  King  and  Premier, 
("  These  Oysters  ")  ;  Cervantes's  recitative  ("  Once  sat  a 
Youth  "),  in  the  finale  of  the  first  act;  a  dainty  little  romanza 
for  Cervantes  ("Where  the  wild  Rose  sweetly  doth  blow"); 
the  trio  and  chorus  ("  Great  Professors,  learned  Doctors  ")  ; 
the  fine  duet  for  the  King  and  Cervantes  ("  Brighter  Glance 
on  him  shall  repose");  Sancho's  vivacious  couplet  ("  In  the 
Night  his  Zither  holding  ")  ;  the  Queen's  showy  song  ("  Seven- 
teen Years  had  just  passed  o'er  me  ")  ;  and  the  two  closing 
choruses  ("  Now  the  King  all  hail")  in  march  time,  and  the 
bull-fight,  which  is  full  of  dash  and  spirit. 


STRAUSS  271 

The  Gypsy  Baron 

"  The  Gypsy  Baron/'  opera  comique  in  three  acts,  text  by 
Schnitzer,  and  based  upon  a  romance  of  the  same  name  by 
M.  Jokai,  was  first  produced  October  24,  1885,  in  Vienna. 
The  story  is  a  simple  one.  The  so-called  "  Gypsy  Baron," 
Sandov  Barinkay,  who  left  his  home  when  a  lad,  returns  to 
find  it  desolate  and  in  possession  of  gypsies.  His  nearest 
neighbor  is  Zsupan,  with  whose  daughter  Arsena  he  falls  in 
love.  She  orders  him  never  to  call  uj)on  her  again  as  a  suitor 
until  he  can  come  as  a  baron.  Barinkay  goes  off  in  a  rage 
to  the  gypsies,  who  adopt  him  and  make  him  their  Waywolde, 
or  gypsy  baron.  P'orgetful  or  unmindful  of  Arsena,  he  falls 
in  love  with  Saffi,  a  gypsy  girl,  and  marries  her.  In  the  second 
act  he  finds  a  hidden  treasure,  but  is  arrested  for  keeping  it 
a  secret.  He  manages  to  escape  by  turning  over  his  treasure 
to  the  government  and  joining  the  Austrian  army  with  his 
whole  band.  In  the  last  act  he  returns  with  the  victorious 
troops  to  Vienna,  is  made  a  real  baron  for  his  bravery,  and 
Saffi  turns  out  to  be  the  daughter  of  a  real  pasha. 

The  opera  abounds  in  brilliant  melodies,  dance  rhythms, 
and  gypsy  music.  The  most  conspicuous  numbers  in  the  first 
act  are  the  entrance  couplets  ("  Als  flotter  Geist  "),  closing 
in  waltz  time,  the  melodrama  and  ensemble  ("  So  tauschte 
mich  die  Ahnung  nicht"),  the  ensemble  ("  Dem  Freier  naht 
die  Braut  "),  and  Saffi's  delightful  gypsy  song  ("  So  elend 
und  so  treu  ")  ;  in  the  second  act,  the  terzetto  for  Saffi,  Czipsa, 
and  Barinkay  ("  Mein  Aug  bewacht  ")  and  ("  Ein  Greis  ist 
mir  in  Traum  erschienen  "),  the  duet  for  Saffi  and  Barinkay 
("  Wer  uns  getraut "),  the  Werberlied  with  chorus  ("  Her  die 
Hand"),  and  the  finale  ("  Nach  Wien");  and  in  the  third 
act,  the  chorus  ("  Freut  euch  "),  the  couplets  for  Arsena, 
Mirabella,  and  Carnero  ("  Hat  es  gar  nicht  gut  "),  the  march 
couplet  and  chorus  ("  Von  der  Tajos  Strand  "),  the  brilliant 
military  march  ("  Huora  der  Schlacht  gemacht  "),  and  the 
finale  ("  Heirathen  Vivat  ").  "The  Gypsy  Baron"  is  one 
of  the  few  light  operas  in  which  the  interest  steadily  progresses 
and  reaches  its  brilliant  climax  in  the  last  act. 


STRAUSS    (RICHARD) 

Feuersnot 

FEUERSNOT,"  song-poem  in  one  act^  text  by  Ernest 
von  Wolzogen,  and  dramatized  from  an  episode  in  an 
old  Dutch  saga,  was  first  produced  at  Weimar,  October  28, 
1902.  Both  story  and  music  are  ilhistrative  of  German  burgher 
life  in  mediaeval  times.  The  plot  is  connected  with  the  cele- 
bration of  the  "  Sonnenwende  "  (the  turning  of  the  sun)  on 
the  longest  night  of  the  year  and  the  lighting  of  the  Johannis 
fire,  emblematical  of  the  glorification  of  the  senses.  The  scene 
is  laid  in  Munich  in  the  fabled  "  Notime  "  or  "  Bad  Time." 
As  the  curtain  rises  Kunrad  der  Ebner  is  roused  from  his 
meditations  by  the  children  of  the  city  who  are  marching 
through  the  streets  gathering  sticks  for  their  fires  from  the 
people.  Kunrad  is  occupying  a  dismal  house  whose  former 
occupant  was  driven  away  for  alleged  witchcraft.  He  realizes 
how  foolish  he  has  been  to  devote  himself  to  books  and  to 
neglect  the  practical  things  of  life,  and  bids  the  children  take 
his  books  and  put  them  in  their  fire.  Meanwliile,  the  burgo- 
master's daughter  Diemut,  as  well  as  others,  manifest  more 
than  ordinary  interest,  which  so  emboldens  him  that  he  kisses 
her.  In  revenge  she  pretends  to  be  in  love  with  him,  and 
plans  a  meeting  at  midnight  if  he  will  ascend  to  her  in  a 
basket  which  she  will  hang  out  and  draw  up  to  her  room. 
Kunrad  consents,  and  comes  at  night  and  gets  into  the  basket. 
Diemut,  however,  only  draws  him  part  way  up  and  leaves  him 
hanging  there,  whereupon  she  summons  the  neighbors  to  jeer 
at  him.  Kunrad  now  revenges  himself  in  turn  by  magically 
extinguishing  all  the  fires  in  town  and  announcing  that  they 
cannot  be  lit  again  until  Diemut  has  consented  to  be  his. 
He  then  manages  to  climb  to  the  balcony  above  him  and  there 


STRAUSS  273 

awaits  events.  Diemut  appears  at  her  window,  and,  moved 
by  the  piteous  appeals  of  the  burghers,  relents  and  admits 
him  to  her  chamber.  As  she  at  last  consents  to  be  his,  light 
gradually  appears  in  her  room  and  suddenly  they  break  out 
all  over  the  city  and  the  "  song  poem  "  closes  with  a  grand 
paean  of  love. 

The  opening  number  is  a  children's  chorus  ("  Gebts  uns 
a  Holz  zum  Subendfeuer  "),  which  is  charmingly  bright,  grace- 
ful, and  even  catchy,  especially  in  the  theme  of  the  accom- 
paniment which  follows  the  children  whenever  they  appear. 
It  is  the  lightest  theme  in  the  score,  and  the  prattle  of  the 
youngsters  ("  Memma's  verbrenna  hamma  nix  Maja,  Maja, 
una  mo,  lober,  lober  luja  ")  is  charmingly  illustrated.  Die- 
mut's  opening  song,  as  she  appears  among  the  children 
("  Siisse  Amarcllen  "),  is  very  melodious,  and  is  followed  by 
another  of  their  choruses  ("  Zu  Minka,  steht  a  neu'  baut's 
Haus  ").  After  the  choruses  follow  characteristic  bits  for 
lorg  Poschel,  Kunz  Gilgenstock,  and  Hamerlein  full  of  humor 
and  spirit,  and  these  minor  characters  are  admirably  pictured 
in  the  instrumentation.  Tulbeck's  legend  of  Duke  Heinrich 
and  the  Lion  ("  Als  Herzog  Heinrich  mit  dem  Lowen  kam  ") 
is  sufficiently  described  by  its  designation  in  the  score,  "  to  be 
delivered  with  disagreeable  and  excessive  monotony."  The 
next  conspicuous  number  is  Kunrad's  declamation  ("  Sonnen- 
wend  !  Sonnenwend  !  Klingst  mir  in  Ohr  ")  which  is  rather 
declamation,  as  already  designated,  than  melody,  and  set  to 
a  very  complicated  and  descriptive  accompaniment.  The  boys' 
and  girls'  choruses  ("Heissa!  hellerlichten,"  and  "Maja, 
maja,  mia  mo"),  which  follow  it,  are  enormously  difficult, 
especially  as  they  are  sung  against  dramatic  and  descriptive 
accompaniments,  and  the  harmonies  and  intervals  are  un- 
usual. The  next  long  scene  for  Kunrad  ("  Dass  ich  den  Zauber 
lerne  ")  is  a  relief  by  reason  of  its  melodious  and  romantic 
character.  A  little  later  on  there  is  further  relief  as  the 
choruses  are  graceful  and  set  to  lively  waltz  tempo,  though 
they  are  too  complicated  and  difficult  to  be  easily  caught.  The 
burgomaster's  solo  which  follows  ("  Miau,  miau  !  Oh  Jeh  ! — • 
Was  formmts?")  is  also  full  of  humor  and  spirit,  and  would 


274  THE    STANDARD    OPERAS 

be  quite  comprehensible  even  without  words.     Kunrad's  next 
aria  ("  Feuersnot !   Minnegebot  ")  is  impressive  and  beautiful, 
and  is  set  to  a  very  dramatic  and  involved  accompaniment. 
The  aria  is  Wagnerian  in  style  throughout.     It  is  immediately 
followed  by  Diemut's  great  song  ("  Mitsommernacht  Wehvolle 
Wacht"),  which  is  not  only  romantic  and  delightfully  melodi- 
but  beautiful  in  harmonic  effect.     The  duet  for  Diemut  and 
Kunrad  which  follows  ("Mitsommernacht!    Wonnige  Wacht") 
is  up  to  the  same  standard,  and  though  full  of  complications 
and  difficulties,  is  tender,  melodious,  and  spirited  by  turns  and 
fairly  dazzling  in  its  effect.     Kunrad's  magical  appeal  ("  Hilf 
mir,  Meister !  ")  is  strong  and  distinctly  ghostly  in  effect.     His 
next  number   ("  Im  Hause,  das  ich  heut  zerbann  "),  mostly 
in  waltz  tempo,  is  not  only  remarkable  as  a  spirited  and  at- 
tractive declamation  with  an  accompaniment  full  of  color,  but 
it  has  an  added  interest  as  a  bit  of  satire  upon  the  people  of 
Munich.      It   is    Kunrad's   address    from   the   balcony   to   the 
crowd.     Kunrad,  who  is  typical  of  the  new  spirit,  says  that 
the  house  in  which  he  lives  was  once  that  of  Master  Reichardt, 
the  ruler  of  spirits  (Wagner),  and  that  although  he  did  much 
for  them  they  cast  out  "  the  bold  man  "  (der  Wagner).     But, 
he  adds,  they  could  not  drive  out  the  new  spirit  (Strauss). 
As  he  designates  Wagner  "  the  ruler  of  spirits,"  the  Walhalla 
motif  is  heard  and  the  words  describing  his  banishment  are 
sung  by  Kunrad  to  "  The  Flying  Dutchman's  "  motif,  while 
the  allusion  to  "  the  new  spirit  "  is  accompanied  by  a  motif 
from  Strauss's  own  opera,  "  Guntram."     From  this  point  to 
the  close  of  the  opera  the  music  is  marked  by  great  dignity 
and  impressiveness   of  declamation,   and  closes   with  a   sym- 
phonic movement  of  remarkable  beauty  and  power  which  has 
already   found   its   way   to   the   concert-stage   and   become   a 
favorite. 

Salome 

The  score  of  "  Salome  "  was  finished  by  Strauss  in  June, 
1905,  and  was  first  produced  in  the  same  year  in  Dresden. 
It  was  first  heard  in  this  country  in  New  York  in  1907.     The 


STRAUSS  275 

text  is  a  translation  of  Oscar  Wilde's  play  of  the  same  name, 
made  by  Hedwig  Lachmann,  It  is  arranged  in  one  act  and 
the  leading  characters  are  Herod,  tetrarch  of  Judaea;  Joka- 
naan,  the  Prophet;  Narraboth,  captain  of  the  guard;  Naaman, 
executioner;  Herodias,  wife  of  Herod;  and  Salome,  daughter 
of  Herodias;  these  are  set  against  a  background  of  slaves, 
soldiers,  Jews,  and  Nazarenes. 

The  story  is  repulsive,  unclean,  and  sensual.  There  is  but 
one  scene,  a  terrace  above  the  banquet  hall  of  Herod.  Narra- 
both, the  captain  of  the  guard,  looking  down  into  the  hall 
discourses  to  his  companions  upon  the  beauty  of  Salome,  who 
is  sitting  at  the  feast  with  Herod  and  his  courtiers.  A  page 
of  Herodias  warns  him  against  her  and  as  he  utters  his 
warning  Salome  appears  in  the  doorway.  As  she  stands 
looking  out  upon  the  night,  Narraboth  is  spellbound.  His 
reverie  is  broken  in  upon  by  the  voice  of  an  invisible  man. 
In  answer  to  Salome's  inquiry  she  is  informed  that  it  is  the 
voice  of  a  man  imprisoned  in  a  cistern,  —  Jokanaan's  (John 
the  Baptist's)  dungeon,  —  who  is  known  as  "The  Baptist" 
and  by  some  is  regarded  as  a  Prophet.  She  remembers  it  was 
this  man  who  denounced  her  mother  and  she  has  a  wild  desire 
to  see  him.  Narraboth  thereupon  orders  him  brought  out. 
Salome  no  sooner  beholds  him  than  she  falls  violently  in  love 
with  him  but  he  indignantly  repels  her  sensual  advances. 
Narraboth  in  a  fit  of  jealousy  kills  himself,  after  Jokanaan 
has  been  returned  to  the  cistern.  At  this  juncture  Herod, 
Herodias,  and  the  courtiers  appear  upon  the  terrace  to  see 
why  she  has  not  obeyed  his  order  to  return  to  the  banquet. 
He  displays  passion  for  his  step-daughter,  but  Salome,  long- 
ing for  Jokanaan,  pays  no  heed  to  him.  The  Prophet's  de- 
nunciation is  heard  again  and  Herodias  demands  that  Herod 
shall  silence  him  but  he  is  afraid  to  do  so.  He  even  refuses 
to  surrender  him  to  the  Jews  and  another  denunciation  is 
heard.  Herod  refuses  again  to  order  his  execution  but  in- 
stead bids  Salome  dance  for  him,  offering  her  anything  she 
may  ask  if  she  will  do  so.  She  consents  at  last  and  when  the 
dance  is  ctsncluded,  demands  the  head  of  Jokanaan  upon  a 
charger.     He  demurs  at  first  but  she  insists  and  at  last  he 


276  THE    STANDARD    OPERAS 

gives  the  order.  The  executioner  descends  into  the  cistern 
and  in  a  moment  his  arm  is  thrust  out  and  the  ghastly  head 
of  the  Prophet  is  before  her  upon  a  silver  salver.  As  she 
seizes  it  and  lavishes  kisses  and  caresses  upon  it  Herod  orders 
his  soldiers  to  kill  her.  They  close  about  her  and  crush  her 
under  their  shields,  her  last  words  being:  "  Ah,  I  have  kissed 
thy  mouth,  Jokanaan.  There  was  a  bitter  taste  on  thy  lips. 
Was  it  the  taste  of  blood?  But  perchance  it  is  the  taste  of 
love.  They  say  that  love  hath  a  bitter  taste.  But  what  of 
that?  What  of  that?  I  have  kissed  thy  mouth  Jokanaan, 
I  have  kissed  thy  mouth."  And  thus  the  ghastly,  sensual 
story  ends. 

"  Salome  "  is  neither  opera,  music  drama,  nor  symphonic 
poem,  according  to  Strauss.  He  simply  calls  it  "  drama." 
It  begins  abruptly  without  overture,  or  even  prelude,  by  the 
announcement  of  one  of  Salome's  motives.  Motives,  forty 
or  more,  are  closely  interwoven  with  the  movement  of  the 
drama.  If  we  may  except  the  "  Dance  of  the  Seven  Veils  " 
which  is  very  effective  as  a  concert  number,  there  are  no 
melodious  numbers  to  be  indicated.  Dissonance  is  conspicu- 
ous throughout.  New  and  unexpected  tone  effects  abound. 
The  voices  have  no  opportunities.  The  people  on  the  stage 
are  only  necessary  for  the  physical  action.  The  dramatis 
personce  declaim  and  sometimes  so  unmusically  that  it  is  mere 
talk.  Strauss  himself  at  a  rehearsal  remarked  that  no  con- 
sideration had  been  paid  to  the  singers.  The  immense  orches- 
tra of  one  hundred  and  twelve  pieces,  often  most  minutely 
subdivided,  bears  the  heat  and  burden  of  this  orgy  of  strange 
technic  and  complex  cacophony.  At  another  rehearsal  Strauss 
admonished  the  orchestra:  "  You  play  too  gently.  This  music 
is  not  civilized,  it  must  crash."  The  orchestra  is  subsidized 
for  all  manner  of  strange  work  and  sometimes  ludicrous 
description  of  the  action,  the  words,  looks,  and  even  gestures 
of  those  on  the  stage.  The  outcome  of  it  all  is  a  riotous 
squandering  of  extraordinary  genius  in  orchestration  and  con- 
structive musicianship,  upon  dramatic  rottenness.  For  rotten- 
ness it  is,  notwithstanding  the  composer's  weak  averment: 
"  In  art  there  is  never  the  moral  or  the  immoral;    such  con- 


Mary  Garden  as  Salome 

Copyright,  Matzene 


STRAUSS  277 

ceptions   are  incompatible  with  the  conception  of  art.      The 
artist  refuses  to  answer  the  question,  '  Is  your  art  moral? 
Even  the  artist  cannot  touch  pitch  and  remain  undefiled. 


EleJctra 

"  Elektra  "  was  first  produced  at  Dresden  in  1909  and  in  this 
country  in  1910.  The  story  is  based  upon  Von  Hofmannstahl's 
drama  of  "  Elektra."  The  characters  are  the  same  but  the 
action  diverges  radically  from  that  of  the  old  Greek  drama. 
The  first  production  in  this  country  was  in  French  from  a 
version  by  Henry  Gauthier-Villars. 

The  German  drama  is  not  merely  a  tragedy  but  a  tragedy 
of  insanity  and  horror.  If  "  Salome  "  is  an  orgy  of  sensu- 
ality, "  Elektra  "  is  an  orgy  of  bloodthirstiness  and  insane 
fury,  in  which  Elektra  is  the  central  figure.  When  Agamem- 
non, Elektra's  father,  went  to  the  Trojan  War,  he  confided 
his  wife,  Clytemnestra,  and  his  home  to  ^gisthus,  the  mur- 
derer of  Agamemnon's  father.  His  confidence  is  abused  and 
when  he  returns  he  is  slain  in  his  bath  by  ^gisthus  and 
Clytemnestra.  The  opening  of  the  drama  reveals  Elektra 
crazed  with  grief  and  rage  over  her  father's  murder  and  the 
banishment  of  her  brother,  Orestes,  whom  she  believes  to  be 
dead.  She  rushes  about  the  palace  shrieking  vengeance.  She 
meets  her  mother  and  denounces  her.  She  also  denounces  her 
sister,  Crysothenus,  whom  she  believes  to  have  been  concerned 
in  the  murder.  Orestes  suddenly  appears  and  when  he  learns 
what  has  occurred  he  determines  to  execute  speedy  vengeance 
in  which  he  is  aided  by  his  sister.  She  scratches  up  the  earth 
in  which  the  murderer's  hatchet  is  buried.  Orestes  rushes 
into  the  palace  and  Clytemnestra's  screams  announce  her  fate, 
^gisthus,  returning  from  the  hunt,  has  forebodings  of  his  own 
fate  and  is  soon  uselessly  shrieking  for  help.  These  two  out 
of  the  way  and  her  vengeance  complete,  Elektra  executes  a 
diabolical,  frenzied  dance,  until  at  last  she  swoons,  and  loses 
her  reason.     Then  all  is  quiet  in  this  mad  house. 

A  general  analysis  of  the  music  of  "  Elektra  "  would  follow 


278  THE    STANDARD    OPERAS 

closely  on  the  lines  of  that  of  "  Salome."  The  same  lack  of 
consideration  for  the  voices  obtains.  Motives  are  just  as 
abundant  and  as  complicated  in  their  interweaving.  There  is 
if  possible  less  of  melody.  A  simple  chord  serves  as  prelude. 
There  is  even  more  vociferation  and  shriek.  The  orchestra  is 
just  as  colossal. 

Some  references  to  outside  criticism  may  be  of  interest. 
One  critic  calls  its  atmosphere  "  mad  and  morbid,"  another 
characterizes  it  as  "  a  panorama  of  neurotic,  decadent,  patho- 
logical humanity,  reeking  with  morbid,  maniacal,  unnatural 
instincts."  The  London  Spectator  said:  "  Elektra  is  a  sicken- 
ing disappointment  to  those  who  have  hoped  Strauss  would 
still  extricate  his  great  talent  from  the  slough  of  calculated 
eccentricity  in  which  it  has  been  too  long  submerged."  The 
Saturday  Review  said:  "  One  rarely  chances  on  genuine  preg- 
nant themes.  But  it  must  be  admitted  Strauss  shows  fiendish 
cleverness  in  spinning  a  continuous  web  of  tone  out  of  the 
least  promising  subjects.  *  Elektra  '  is  not  a  masterpiece  but 
just  what  a  supernaturally  clever  professor  might  write  to 
show  his  pupils  how  students'  music  should  be  written,  or  a 
similarly  gifted  but  more  artistic  professor  might  write  to 
show  how  real  music  should  not  be  written."  Mme.  Schumann- 
Heink,  who  was  the  original  Clytemnestra  at  the  Dresden  per- 
formance, says:  "  I  will  never  sing  it  again.  Es  war  furcht- 
har!  We  were  a  set  of  mad  women.  The  music  is  madden- 
ing. .  .  .  There  is  nothing  beyond  '  Elektra.'  It  can  go  no 
further.  One  has  lived  and  reached  the  uttermost  of  that  art 
—  Wagner.  He  has  made  use  of  the  furthest  outlines  in  vocal 
writing.  Richard  Strauss  goes  beyond  him,  and  his  singing 
voices  are  lost.  We  have  come  to  a  full  stop.  I  believe  Strauss 
himself  sees  it." 

Der  Rosenkavalier 

"  Der  Rosenkavalier  ("Cavalier  of  the  Rose"),  Richard 
Strauss'  last  opera,  in  three  acts,  text  by  Herr  von  Hoffmanns- 
thai,  was  first  performed  in  Dresden  in  January,  1911,  the 
cast  including  Fraulein   Siems  as   Princess  von  Werdenberg, 


STRAUSS  279 

wife  of  the  Field  Marshal;  Fraulein  von  der  Osten,  Cavalier 
of  the  Rose;  Minnie  Nast,  Sophie;  Herr  Perron,  Baron  Ochs 
von  Lerchenau ;  and  Herr  Scheidemantel  as  von  Faninal.  The 
opera  is  designated  by  the  composer  as  "  comedy  for  music." 

The  story  of  the  opera  is  laid  in  Vienna  in  the  time  of 
Maria  Theresa.  Ochs  von  Lerchenau,  an  impoverished  noble- 
man, has  selected  Sophie,  daughter  of  the  wealthy  Faninal, 
as  his  spouse.  After  the  manner  of  those  days,  he  must  send 
her  a  silver  rose  by  a  special  cavalier.  He  calls  upon  his 
cousin,  Princess  Werdenberg,  wife  of  the  Field  Marshal,  for 
that  purpose  and  finds  her  in  company  with  Octavian,  her 
young  lover,  who  has  managed  to  assume  female  attire,  before 
he  enters,  and  passes  himself  off  as  the  Princess'  waiting-maid. 
Lerchenau  begins  making  love  to  Octavian  while  stating  his 
mission  to  the  Princess,  who  recommends  Octavian  as  the 
cavalier  and  shows  him  his  picture.  He  is  struck  by  the  re- 
semblance between  Octavian  and  the  supposed  chambermaid, 
whom  the  Princess  passes  off  as  Mariandl,  an  illegitimate 
sister  of  Octavian.  Thereupon,  thinking  her  of  noble  birth,  he 
renews  his  suit  and  asks  her  for  a  meeting.  In  the  meantime 
a  motley  crowd  enters  the  apartment,  and  as  they  are  pressing 
their  claims  for  favors,  the  Princess  has  her  hair  dressed 
and  Lerchenau  selects  Octavian  as  the  cavalier. 

In  the  second  act  Octavian  calls  upon  Sophie  and  presents 
the  rose,  and  is  shortly  followed  by  Lerchenau  and  his  retinue, 
who  come  to  sign  the  marriage  contract.  Sophie,  however, 
takes  a  dislike  to  him,  and  not  only  declines  to  give  her  con- 
sent, but  falls  in  love  with  Octavian.  Lerchenau  thereupon 
attempts  to  take  her  by  force,  whereupon  Octavian  comes  to 
her  rescue  and  wounds  Lerchenau  in  the  arm.  An  uproar 
ensues,  and  Sophie's  father  appears  and  orders  Octavian  out 
of  the  house. 

The  third  act  is  devoted  to  Octavian's  plans  for  exposing 
Lerchenau  as  a  libertine.  Disguised  as  the  chambermaid,  he 
arranges  a  meeting  in  an  inn.  At  every  attempt  of  his  to 
make  love  a  head  suddenly  appears,  and  at  last  he  becomes 
frightened  and  calls  the  police.  The  commissary  enters  and 
demands  that  Lerchenau  explain  why  he  is  compromising  a 


280  THE    STANDARD    OPERAS 

young  girl.  Lerchenau  insists  that  she  is  his  bride  Sophie.  In 
the  meantime  Sophie  and  her  father  are  sent  for  and  when 
they  arrive  the  game  is  up.  Faninal  forbids  Lerchenau  his 
house  and  the  Field  Marshal's  wife  brings  about  the  union 
of  Sophie  and  Octavian. 

In  "  Der  Rosenkavalier/'  although  Strauss  freely  uses 
"  Leitmotiven,"  as  in  his  earlier  operas,  yet  he  has  made  a 
wide  departure,  in  that  the  music  is  more  lyrical,  ensembles  are 
introduced,  and  the  waltz  rhythm  is  apparent  in  all  three  acts 
—  very  much  resembling,  indeed,  the  waltz  manner  of  the 
other  Strauss  of  Blue  Danube  fame.  The  composer's  own 
analysis  of  his  music  is  as  follows:  "  Hofmannsthal's  text  has 
a  charming  and  decided  rococo  tone,  and  it  now  became  my 
task  to  convey  this  atmosphere  to  the  musical  setting.  The 
spirit  of  Mozart  involuntarily  rose  before  me,  but  in  spite 
of  this  I  remained  true  to  myself.  The  orchestration  is  not 
so  heavy  as  in  '  Salome  '  or  '  Elektra,'  but  it  is  by  no  means 
treated  after  the  modern  manner  of  performing  Mozart  with 
small  orchestra ;  the  '  Rosenkavalier  '  is  composed  for  com- 
plete orchestra.*  Mozart's  own  ideas  did  not  at  all  incline 
toward  a  small  orchestra;  once  when  an  English  Maecenas 
had  one  of  his  symphonies  played  with  a  hundred  violins, 
Mozart  was  very  enthusiastic  over  the  effect  produced. 

"  I  have  not  departed  from  the  path  of  the  text's  gay 
vivacity,  which,  however,  never  oversteps  the  bounds  of  grace 
and  elegance;  the  second  act  ends  with  a  genuine  Vienna 
waltz  and  the  duet  between  the  chambermaid,  Octavian,  and 
the  Baron  Ochs  in  the  secluded  chamber  is  made  up  entirely 
of  waltz  motives.  The  part  of  the  Rozenkavalier  is  to  be 
sung  by  a  lady,  a  mezzo-soprano,  and  that  of  the  baron  by  a 
bass-buffo.  Besides  six  other  important  roles,  the  '  comedy 
for  music  '  contains  fourteen  smaller  solo  parts." 

*  The  score  of  the  Rose  Cavalier  calls  for  32  violins,  12  violas,  10  violon- 
cellos, 8  double  basses,  3  flutes,  3  oboes,  2  clarinets,  1  bass  clarinet,  3  bas- 
soons, 4  horns,  3  trumpets,  3  trombones,  1  tuba,  2  harps,  glochenspiel, 
triangle,  bell,  castanets,  tympani,  side  and  bass  drums,  cymbals,  celeste, 
and  rattle.  A  small  orchestra  for  the  stage  also  requires  1  oboe,  1  flute,  2 
clarinets,  2  horns,  2  bassoons,  1  trumpet,  1  drum,  harmonium,  piano,  and 
string  quintet. 


H 


SULLIVAN    (ARTHUR) 

H.  M.  S.  Pinafore 

M.  S.  PINAFORE ;  or,  The  Lass  that  Loved  a  Sailor," 
.  comic  opera  in  two  acts,  text  by  Gilbert,  was  first  pro- 
duced at  the  Opera  Comique,  London,  May  28,  1878,  and  in 
New  York,  January  15,  1879,  with  the  following  cast: 

Captain  Corcoran Rutland  Barrington. 

Josephine Miss  E.  Howson. 

Ralph  Rackstraw Mr.  Power. 

Rt.  Hon.  Sir  Joseph  Porter Geo.  Grossihth,  Jr. 

Little  Buttercup Miss  Everard. 

Dick  Deadeye Mr.  R.  Temple. 

Hebe Miss  J.  Bond. 

Bill  Bohstay Mr.  Clifford. 

Although  "  Pinafore,"  when  it  was  first  produced  in  London, 
was  received  so  coolly  that  it  was  decided  to  take  it  off  the 
boards,  yet  eventually,  with  the  exception  of  "  The  Beggar's 
Opera,"  it  proved  to  be  the  most  popular  opera  ever  produced 
in  England;  while  in  the  United  States  it  was  for  years  the 
rage,  and  is  still  a  great  favorite.  The  first  scene  introduces 
the  leading  characters  on  the  deck  of  "  PL  M.  S.  Pinafore  " 
in  the  harbor  of  Portsmouth.  Little  Buttercup,  a  bumboat 
woman,  "  the  rosiest,  the  roundest,  and  the  reddest  beauty  in 
all  Spithead,"  comes  on  board  and  has  an  interview  with  Dick 
Deadeye,  the  villain  of  the  story,  and  Ralph  Rackstraw,  "  the 
smartest  lad  in  all  the  fleet,"  who  is  in  love  with  Josephine, 
Captain  Corcoran's  daughter.  The  Captain  appears  on  deck 
in  a  melancholy  mood  because  Josephine  has  shown  herself 
indifferent  to  Sir  Joseph  Porter,  K.  C.  B.,  who  is  to  ask  for 
her  hand  that  afternoon.    She  confesses  to  her  father  that  she 


282  THE    STANDARD    OPERAS 

loves  a  common  sailor,  but  will  carry  her  love  to  the  grave 
without  letting  him  know  of  it.  Sir  Joseph  comes  on  board 
with  a  long  retinue  of  sisters,  cousins,  and  aunts,  who  chant 
his  praises.  After  attending  to  some  minor  details,  he  has  a 
fruitless  interview  with  the  Captain  and  Josephine.  She 
protests  she  cannot  love  him.  Shortly  afterwards  she  meets 
Ralph,  who  declares  his  love  for  her,  but  she  haughtily  rejects 
him.  When  he  draws  his  pistol  and  declares  he  will  shoot 
himself,  she  acknowledges  her  love,  and  they  plan  to  steal 
ashore  at  night  and  be  married.  Dick  Deadeye  overhears 
the  plot  and  threatens  to  thwart  it. 

The  second  act  opens  at  night.  Captain  Corcoran  is  dis- 
covered sadly  complaining  to  the  moon,  and  wondering  why 
everything  is  at  "  sixes  and  sevens."  Little  Buttercup  sym- 
pathizes with  him,  and  is  about  to  become  affectionate,  when 
he  informs  her  he  can  only  be  her  friend.  She  grows  en- 
raged, and  warns  him  there  is  a  change  in  store  for  him. 
Sir  Joseph  enters,  and  informs  the  Captain  he  is  much  dis- 
appointed at  the  way  Josephine  has  acted.  The  Captain 
replies  that  she  is  probably  dazzled  by  his  rank,  and  that 
if  he  will  reason  with  her  and  convince  her  that  "  love  levels 
all  ranks,"  everything  will  be  right.  Sir  Joseph  does  so, 
but  only  pleads  his  rival's  cause.  She  tells  him  she  has 
hesitated,  but  now  she  hesitates  no  longer.  Sir  Joseph  and 
the  Captain  are  rejoicing  over  her  apparent  change  of  heart, 
when  Dick  Deadeye  reveals  the  plot  to  elope  that  night. 
The  Captain  confronts  them  as  they  are  stealthily  leaving 
the  vessel,  and  insists  upon  knowing  what  Josephine  is  about 
to  do.  Ralph  steps  forward  and  declares  his  love,  whereupon 
the  Captain  grows  furious  and  lets  slip  an  oath.  He  is  over- 
heard by  Sir  Joseph,  who  orders  him  to  his  cabin  "  with 
celerity."  He  then  inquires  of  Ralph  what  he  has  done  to 
make  the  Captain  profane.  He  replies  it  was  his  acknowl- 
edgment of  love  for  Josephine,  whereupon,  in  a  towering 
rage.  Sir  Joseph  orders  his  imprisonment  in  the  ship's  dun- 
geon. He  then  remonstrates  with  Josephine,  whereupon  Little 
Buttercup  reveals  her  secret.  Years  before,  when  she  was 
practising  baby-farming,  she  nursed  two  babies,  one  of  "  low 


SULLIVAN  288 

condition/'  the  other  "  a  regular  patrician/'  and  she  "  mixed 
those  children  up  and  not  a  creature  knew  it."  "  The  well- 
born babe  was  Ralph,  your  Captain  was  the  other."  Sir 
Joseph  orders  the  two  before  him,  gives  Ralph  the  command 
of  "  H.  M.  S.  Pinafore/'  and  Corcoran  Ralph's  place.  As  his 
marriage  with  Josephine  is  now  impossible,  he  gives  her  to 
Ralph,  and  Captain  Corcoran,  now  a  common  seaman,  unites 
his  fortunes  with  those  of  Little  Buttercup. 

It  is  one  of  the  principal  charms  of  this  delightful  work 
that  it  is  entirely  free  from  coarseness  and  vulgarity.  The 
wit  is  always  delicate,  though  the  satire  is  keen.  Words  and 
music  rarely  go  so  well  together  as  in  this  opera.  The  chorus 
plays  a  very  important  part  in  it,  and  in  the  most  solemnly 
ludicrous  manner  repeats  the  assertions  of  the  principals  in 
the  third  person.  All  its  numbers  might  be  styled  the  lead- 
ing ones,  but  those  which  have  become  most  popular  are  the 
song  "  I  'm  called  Little  Buttercup  ";  Josephine's  sentimental 
song  ("  Sorry  her  Lot  who  loves  too  well  "),  one  of  the  few 
serious  numbers  in  the  opera;  Sir  Joseph  Porter's  song  ("  I 
am  the  Monarch  of  the  Sea  "),  with  its  irresistible  choral 
refrain  ("  And  so  are  his  Sisters  and  his  Cousins  and  his 
Aunts,  his  Sisters  and  his  Cousins,  whom  he  reckons  by  the 
Dozens  "),  leading  up  to  the  satirical  song  "  When  I  was  a 
Lad,  I  served  a  Term";  the  stirring  trio  ("A  British  Tar 
is  a  soaring  Soul ") ;  Captain  Corcoran's  sentimental  ditty 
("  Fair  Moon,  to  thee  I  sing  ")  ;  Josephine's  scena  ("  The 
Hours  creep  on  apace"),  with  its  mock  heroic  recitative; 
Dick  Deadeye's  delightful  song  ("  The  merry  Maiden  and 
the  Tar ") ;  the  pretty  octet  and  chorus  ("  Farewell,  my 
own");  Little  Buttercup's  legend  ("A  many  Years  ago, 
when  I  was  young  and  charming ")  ;  and  the  choral  finale 
("  Then  give  three  Cheers  and  one  Cheer  more  "). 


The  Pirates  of  Penzance 

"  The  Pirates  of  Penzance ;    or.  The  Slave  of  Duty,"  comic 
opera,  text  by  Gilbert,  was  first  produced  in  New  York,  De- 


284.  THE    STANDARD    OPERAS 

cember  31,  1879,  and  in  England  at  the  Opera  Comique, 
London,  April  3,  1880.  "The  Pirates  of  Penzance"  has  a 
local  interest  from  the  fact  that  it  was  first  produced  under 
the  immediate  supervision  of  both  Mr.  Sullivan  and  Mr.  Gil- 
bert. When  the  composer  left  England  he  had  only  finished 
the  second  act,  and  that  was  without  orchestration.  After  his 
arrival  here  he  wrote  the  first  act  and  scored  the  entire  opera. 
By  this  performance  the  profits  of  the  representations  in  this 
countrj'^  were  secured.  The  work  was  not  published  until 
after  their  return  to  England. 

At  the  opening  of  the  opera  it  is  disclosed  that  Frederic, 
when  a  boy,  in  pursuance  of  his  father's  orders,  was  to  have 
been  apprenticed  to  a  pilot  until  his  twenty-first  year,  but 
by  the  mistake  of  his  nurse-maid,  Ruth,  he  was  bound  out  to 
one  of  the  pirates  of  Penzance,  who  were  celebrated  for  their 
gentleness  and  never  molested  orphans  because  they  were 
orphans  themselves.  In  the  first  scene  the  pirates  are  making 
merry,  as  Frederic  has  reached  his  majority  and  is  about  to 
leave  them  and  seek  some  other  occupation.  Upon  the  eve 
of  departure  Ruth  requests  him  to  marry  her,  and  he  consents, 
as  he  has  never  seen  any  other  woman,  but  shortly  afterwards 
he  encounters  the  daughters  of  General  Stanley,  falls  in  love 
with  Mabel,  the  youngest,  and  denounces  Ruth  as  a  deceiver. 
The  pirates  encounter  the  girls  about  the  same  time,  and  pro- 
pose to  marry  them,  but  when  the  General  arrives  and  an- 
nounces that  he  also  is  an  orphan,  they  relent  and  allow  the 
girls  to  go. 

The  second  act  opens  in  the  General's  ancient  baronial  hall, 
and  reveals  him  surrounded  by  his  daughters,  lamenting  that 
he  has  deceived  the  pirates  by  calling  himself  an  orphan. 
Frederic  appears,  and  bids  Mabel  farewell,  as  he  is  about  to 
lead  an  expedition  for  the  extermination  of  the  pirates.  While 
he  is  alone,  the  Pirate  King  and  Ruth  visit  him  and  show  him 
the  papers  which  bound  him  to  them.  It  is  stated  in  them 
that  he  is  bound  "  until  his  twenty-first  birthday,"  but  as  his 
birthday  is  the  29th  of  February,  he  has  had  but  five.  Led 
by  his  strong  sense  of  duty,  he  decides  that  he  will  go  back 
to  his  old  associates.     Then  he  tells  them  of  the  General's 


SULLIVAN  285 

orphan  story,  which  so  enrages  them  that  they  swear  ven- 
o-eance.  They  come  by  night  to  carry  off  the  General,  but 
are  overpowered  by  the  police  and  sent  to  prison,  where  they 
confess  they  are  English  noblemen.  Upon  promising  to  give 
up  their  piratical  career,  they  are  pardoned,  and  this  releases 
Frederic. 

The  principal  numbers  in  the  first  act  are  Ruth's  song 
("  When  Frederic  was  a  little  Lad  ")  ;  the  Pirate  King's  song 
("Oh!  better  far  to  live  and  die");  Frederic's  sentimental 
song  ("Oh!  is  there  not  one  Maiden  Breast");  Mabel's 
reply  ("  Poor  wandering  One  ")  ;  and  the  descriptive  song 
of  the  General  ("  I  am  the  very  Pattern  of  a  modern  Major- 
General"),  which  reminds  one  of  Sir  Joseph's  song  "When 
I  was  a  Lad,  I  served  a  Term,"  in  "  Pinafore."  The  second 
act  opens  with  a  chorus  of  the  daughters  and  solo  by  Mabel 
("Dear  Father,  why  leave  your  Bed?").  The  remaining 
most  popular  numbers  are  the  "  Tarantara  "  of  the  Sergeant; 
the  Pirate  King's  humorous  chant  ("  For  some  ridiculous 
Reason");  Mabel's  ballad  ("Oh,  leave  me  not  to  pine"), 
and  the  Sergeant's  irresistible  song  ("  When  a  Fellow  's  not 
engaged  in  his  Employment"),  which  has  become  familiar 
as  a  household  word  by  frequent  quotation. 


Patience 

"Patience;  or,  Bunthorne's  Bride,"  comic  opera  in  two 
acts,  text  by  Gilbert,  was  first  produced  at  the  Opera  Comique, 
London,  April  23,  1881,  with  the  following  cast: 

Patience Leonora  Braham. 

Bunthome Mr.  Grossmith. 

Jane Alice  Barnett. 

Archibald      Mr.  Barrington. 

The  opera  of  "  Patience "  is  a  pungent  satire  upon  the 
fleshly  school  of  poetry  as  represented  by  Oscar  Wilde  and 
his  imitators,  as  well  as  upon  the  fad  for  aesthetic  culture 
which  raged  so  violently  a  quarter  of  a  century  ago.     Bun- 


286  THE    STANDARD    OPERAS 

thorne,  in  one  of  his  soliloquies,  aptly  expresses  the  hoUow- 
ness  of  the  sham,  — 

"  I  am  not  fond  of  uttering  platitudes 
In  stained-glass  attitudes; 
In  short,  my  medisevalism  's  affectation 
Born  of  a  morbid  love  of  admiration." 

In  these  four  lines  Gilbert  pricked  the  aesthetic  bubble,  and 
nothing  did  so  much  to  end  the  fad  of  lank,  languorous 
maidens,  and  long-haired,  sunflowered  male  aesthetes,  as  his 
well-directed  shafts  of  .ridicule  in  this  opera. 

The  story  of  the  opera  tells  of  the  struggle  for  supremacy 
over  female  hearts  between  an  aesthetic  (Bunthorne)  and 
an  idyllic  poet  (Grosvenor).  In  the  opening  scene  love-sick 
maidens  in  clinging  gowns,  playing  mandolins,  sing  plain- 
tively of  their  love  for  Bunthorne.  Patience,  a  healthy  milk- 
maid, comes  upon  the  scene,  and  makes  fun  of  them,  and 
asks  them  why  they  sit  and  sob  and  sigh.  She  announces 
to  them  that  the  Dragoon  Guards  will  soon  arrive,  but 
although  they  doted  upon  Dragoons  the  year  before  they 
spurn  them  now  and  go  to  Bunthorne's  door  to  carol  to  him. 
The  Guards  duly  arrive,  and  are  hardly  settled  down  when 
Bunthorne  passes  by  in  the  act  of  composing  a  poem,  fol- 
lowed by  the  twenty  lovesick  maidens.  After  finishing  his 
poem  he  reads  it  to  them,  and  they  go  off  together,  without 
paying  any  attention  to  the  Dragoons,  who  declare  they  have 
been  insulted  and  leave  in  a  rage.  Bunthorne,  when  alone, 
confesses  to  himself  he  is  a  sham,  and  at  the  close  of  his 
confession  Patience  comes  in.  He  at  once  makes  love  to  her, 
but  only  frightens  her.  She  then  confers  with  Lady  Angela, 
who  explains  love  to  her,  and  tells  her  it  is  her  duty  to  love 
some  one.  Patience  declares  she  will  not  go  to  bed  until 
she  has  fallen  in  love  with  some  one,  when  Grosvenor,  the 
idyllic  poet  and  "  apostle  of  simplicity,"  enters.  He  and 
Patience  had  been  playmates  in  early  childhood,  and  she 
promptly  falls  in  love  with  him,  though  he  is  indifferent. 
In  the  closing  scene  Bunthorne,  twined  with  garlands,  is  led 
in  by  the  maidens,  and  puts  himself  up  as  a  prize  in  a  lot- 
tery;    but    the    drawing    is    interrupted    by    Patience,    who 


SULLIVAN  287 

snatches  away  the  papers  and  offers  herself  as  a  bride  to 
Bunthorne,  who  promptly  accepts  her.  The  maidens  then 
make  advances  to  the  Dragoons,  but  when  Grosvenor  appears 
they  all  declare  their  love  for  him.  Bunthorne  recognizes 
him  as  a  dangerous  rival,  and  threatens  "  he  shall  meet  a 
hideous  doom." 

The  opening  of  the  second  act  reveals  Jane,  an  antique 
charmer,  sitting  by  a  sheet  of  water  mourning  because  the 
fickle  maidens  have  deserted  Bunthorne,  and  because  he  has 
taken  up  with  "  a  puling  milkmaid,"  while  she  alone  is 
faithful  to  him.  In  the  next  scene  Grosvenor  enters  with 
the  maidens,  of  whom  he  is  tired.  They  soon  leave  him  in 
low  spirits,  when  Patience  appears  and  tells  him  she  loves 
him,  but  can  never  be  his,  for  it  is  her  duty  to  love  Bun- 
thorne. The  latter  next  appears,  followed  by  the  antique 
Jane,  who  clings  to  him  in  spite  of  his  efforts  to  get  rid  of 
her.  He  accuses  Patience  of  loving  Grosvenor,  and  goes 
off  with  Jane  in  a  wildly  jealous  mood.  In  the  next  scene 
the  Dragoons,  to  win  favor  with  the  maidens,  transform 
themselves  into  a  group  of  aesthetes.  Bunthorne  and  Gros- 
venor finally  meet,  and  Bunthorne  taxes  his  rival  with 
monopolizing  the  attentions  of  the  young  ladies.  Grosvenor 
replies  that  he  cannot  help  it,  and  would  be  glad  of  any 
suggestion  that  would  lead  to  his  being  less  attractive.  Bun- 
thorne tells  him  he  must  change  his  conversation,  cut  his  hair, 
have  a  back  parting,  and  wear  a  commonplace  costume. 
Grosvenor  at  first  protests,  but  yields  when  threatened  with 
Bunthorne's  curse.  In  the  finale,  when  it  is  discovered  that 
Grosvenor  has  become  a  commonplace  young  man,  the  maidens 
decide  that  if  "  Archibald  the  All-Right "  has  discarded 
aestheticism,  it  is  right  for  them  to  do  so.  Patience  takes  the 
same  view  of  the  case,  and  leaves  Bunthorne  for  Grosvenor. 
The  maidens  find  suitors  among  the  Dragoons,  and  even  the 
antique  Jane  takes  up  with  the  Duke,  and  Bunthorne  is  left 
alone  with  his  lily. 

The  most  popular  musical  numbers  in  the  opera  are  the 
Colonel's  song  ("  If  you  want  a  Recipe  for  that  popular 
Mystery");      Bunthorne's     "wild,     weird,     fleshly"     song, 


288  THE    STANDARD    OPERAS 

("  What  Time  the  Poet  hath  hymned  "),  also  his  song  ("  If 
you  're  anxious  for  to  shine  ")  ;  the  romantic  duet  of  Patience 
and  Grosvenor  ("  Prithee,  pretty  Maiden ") ;  the  sextet 
("  I  hear  the  soft  Note  of  the  echoing  Voice ") ;  Jane's 
song  ("Silvered  is  the  raven  Hair");  Patience's  ballad 
("Love  is  a  plaintive  Song");  Grosvenor's  fable  of  the 
magnet  and  the  churn;  the  rollicking  duet  of  Bunthorne 
and  Grosvenor  ("  When  I  go  out  of  Door "),  and  the 
"  prettily  pattering,  cheerily  chattering  "  chorus  in  the  finale 
of  the  last  act. 


lolanthe 

"  lolanthe ;    or.  The  Peer  and  the  Peri,"  comic  opera  in 

two   acts,  text  by  Gilbert,  was   first  produced  at  the   Savoy 

Theatre,   London,  November    25,    1882,   with   the    following 
cast: 

lolanthe Jessie  Bond. 

Queen  of  Fairies Alice  Barnett. 

Phyllis Leonora  Braham. 

Lord  Chancellor George  Grossmith. 

Strephon Richard  Temple. 

Earl  of  Montararat Rutland  Barrington. 

Earl  of  Tololler Durwar  Lely. 

Private  Willis Charles  Manners. 

The  first  act  of  "  lolanthe  "  opens  in  Arcady.  lolanthe, 
a  fairy,  having  offended  her  Queen  by  marrying  a  mortal, 
has  been  banished  for  life;  but  in  the  opening  scene,  after 
twenty  years  of  exile,  she  is  pardoned.  She  tells  the  Queen 
of  her  marriage,  and  of  her  son  Strephon,  half  a  fairy  and  half 
a  shepherd,  who  is  engaged  to  Phyllis,  a  shepherdess,  and 
ward  in  chancery.  At  this  point  Strephon  enters  and  informs 
his  mother  that  the  Lord  Chancellor  will  not  permit  him  to 
marry  Phyllis,  but  that  he  will  do  so  in  spite  of  him.  He 
curses  his  fairy  hood,  but  the  Queen  says  she  has  a  borough 
at  her  disposal,  and  will  return  him  to  Parliament  as  a 
Liberal-Conservative.  In  the  next  scene  Strephon  meets 
Phyllis  and  pleads  against  delay  in  marriage,  since  the  Lord 


SULLIVAN  289 

Chancellor  himself  may  marry  her,  and  many  of  the  lords 
are  attentive  to  her.  Meanwhile  the  lords  meet  to  decide 
which  one  of  them  shall  have  Phyllis,  the  Lord  Chancellor 
waiving  his  claim,  as  it  might  lay  his  decision  open  to  mis- 
construction. Phyllis  is  summoned  before  them,  but  is  deaf 
to  all  entreaties,  and  declares  she  is  in  love  with  Strephon, 
who  has  just  entered.  The  peers  march  out  in  a  dignified 
manner,  while  the  Lord  Chancellor  separates  Phyllis  and 
Strephon  and  orders  her  away.  He  then  refuses  Strephon 
his  suit,  whereupon  the  latter  invokes  the  aid  of  his  fairy 
mother,  who  promises  to  lay  the  case  before  her  Queen.  In 
the  finale  the  peers  are  seen  leading  Phyllis.  She  overhears 
something  said  by  Strephon  and  lolanthe  which  induces  her 
to  believe  he  is  faithless,  and  she  denounces  him.  He  replies 
that  lolanthe  is  his  mother,  but  cannot  convince  her.  She 
charges  him  with  deceit,  and  offers  her  hand  to  any  one  of 
the  peers.  He  then  appeals  to  the  Queen,  who  threatens 
vengeance  upon  the  peers  and  declares  that  Strephon  shall 
go  into  Parliament.  The  peers  beg  her  for  mercy,  and 
Phyllis  implores  Strephon  to  relent,  but  he  casts  her  from 
him. 

The  second  act  opens  at  Westminster.  Strephon  is  in 
Parliament  and  carrying  things  with  a  high  hand.  Phyllis 
is  engaged  to  two  of  the  lords  and  cannot  decide  between 
them,  nor  can  they  settle  the  matter  satisfactorily,  where- 
upon the  Lord  Chancellor  decides  to  press  his  own  suit  for 
her  hand.  Strephon  finally  proves  his  birth  to  Phyllis  and 
explains  away  all  her  fears.  lolanthe  then  acknowledges 
that  the  Lord  Chancellor  is  her  husband  and  pleads  with 
him  in  Strephon's  behalf.  When  she  makes  this  confession, 
she  is  condemned  to  death  for  breaking  her  fairy  vow. 
Thereupon  all  the  fairies  confess  that  they  have  married 
peers.  As  it  is  impracticable  to  kill  them  all,  the  Queen 
hunts  up  a  husband,  and  finds  one  in  Private  Willis,  the 
sentry  in  the  palace  yard.  All  the  husbands  join  the  fairies, 
and  thus  matters  are  straightened  out. 

The  music  of  "  lolanthe  "  is  peculiarly  refined  and  fanci- 
ful, and  abounds  in  taking  numbers.     The  best  of  these  are 


290  THE    STANDARD    OPERAS 

Strephon's  song  ("  Good  Morrow  ")  ;  the  delightful  duet  be- 
tween Strephon  and  Phyllis  ("  None  shall  part  us  from  each 
other  "),  one  of  the  most  felicitous  of  the  composer's  lighter 
compositions;  the  Lord  Chancellor's  song  ("When  I  went 
to  the  Bar");  Strephon's  charming  ballad  ("In  Babyhood 
upon  her  Lap  I  lay");  Private  Willis's  song  ("When  all 
Night  long  a  Chap  remains  ")  ;  the  patter  song  of  the  Lord 
Chancellor  ("  When  you  're  lying  awake  with  a  dismal  Head- 
ache ")  ;  the  duet  of  Strephon  and  Phyllis  ("  If  we  're  weak 
enough  to  tarry ") ;  and  lolanthe's  pretty  ballad  ("  He 
loves!    if  in  the  by-gone  Years"). 


Princess  Ida 

"  Princess  Ida ;  or,  Castle  Adamant,"  comic  opera  in  three 
acts,  text  by  Gilbert,  was  first  produced  at  the  Savoy  Theatre, 
London,  January  5,  1884,  and  in  New  York,  February  11, 
1884.  It  is  the  least  effective  of  the  Sullivan  operas.  Its 
libretto  is  also  the  least  effective  of  the  Gilbert  stories  set 
to  the  former's  music.  At  the  time  it  was  written  the  com- 
poser was  depressed  by  a  severe  family  affliction,  and  at  the 
same  time  had  met  the  misfortune  of  losing  all  his  savings 
through  the  failure  of  those  to  whom  he  had  intrusted  them. 
It  may  have  been  also  that  the  labored  and  heavy  style  of 
the  story  had  something  to  do  with  the  dry  and  somewhat 
forced  style  of  the  music,  as  well  as  its  lack  of  the  bright- 
ness and  fancy  which  are  so  apparent  in  "  Pinafore "  and 
"  Patience."  It  was  wittily  called  by  the  authors  "  a  re- 
spectful  operatic   perversion   of    Tennyson's    '  Princess.'  " 

The  first  act  opens  at  King  Hildebrand's  palace,  where  the 
courtiers  are  watching  for  the  arrival  of  King  Gama  and  his 
daughter,  the  Princess  Ida,  who  has  been  promised  in  mar- 
riage to  Hilarion,  Hildebrand's  son.  When  Gama  finally 
comes,  Ida  is  not  with  him,  and  he  explains  to  the  enraged 
Hildebrand  that  she  is  at  Castle  Adamant,  one  of  his  country 
houses,  where  she  is  president  of  a  woman's  university. 
Gama  and  his  three  sons,  Avac,  Guron,  and  Scynthius,  are 


SULLIVAN  291 

seized  and  held  as  hostages  for  her  appearance,  and  in  the 
meantime  Hilarion,  and  his  two  friends,  Cyril  and  Florian, 
determine  to  go  to  Castle  Adamant  and  see  if  they  cannot 
make  some  impression  upon  the  Princess. 

The  second  act  opens  at  Castle  Adamant,  and  discloses  the 
pupils  of  the  university  in  discourse  with  Lady  Psyche,  the 
Professor  of  Humanities,  and  Lady  Blanche,  Professor  of 
Abstract  Science,  who  is  ambitious  to  get  control  of  the  in- 
stitution. Hilarion  and  his  two  friends  scale  the  wall  and 
get  into  the  grounds,  and  finding  some  academic  robes  they 
disguise  themselves  as  girls.  They  first  meet  the  Princess 
and  explain  to  her  that  they  wish  to  enter  the  university,  to 
which  she  gives  her  consent  upon  their  subscription  to  the 
rules.  They  sign  with  enthusiasm,  especially  when  they  dis- 
cover that  there  is  one  which  requires  them  to  give  the  ful- 
ness of  their  love  to  the  hundred  maidens  of  the  university. 
Shortly  afterwards  they  encounter  Lady  Psyche,  who  recog- 
nizes Florian  as  her  brother.  They  tell  their  secret  to  her. 
Melissa,  the  daughter  of  Lady  Blanche,  overhears  them,  and 
is  in  raptures  at  her  first  sight  of  men.  She  discloses  to  her 
mother  what  she  has  discovered,  but  urges  her  not  to  speak 
of  it,  for  if  Hilarion  is  successful  in  his  suit  she  (the  Lady 
Blanche)  may  succeed  to  the  presidency.  At  the  luncheon, 
however,  the  Princess  discovers  she  is  entertaining  three  men 
and  flees  from  the  spot.  In  crossing  a  bridge  she  falls  into 
the  river,  but  is  rescued  by  Hilarion.  Her  anger  is  not  ap- 
peased by  his  gallantry,  and  she  orders  the  arrest  of  the 
three.  As  they  are  marched  off,  there  is  a  tumult  outside. 
Hildebrand,  with  an  armed  force  and  with  his  four  hostages, 
has  arrived,  and  gives  the  Princess  until  the  morrow  after- 
noon to  release  Hilarion  and  become  his  bride. 

The  last  act  opens  with  the  preparations  of  the  Princess 
and  her  pupils  to  defend  themselves,  but  one  after  the  other 
their  courage  deserts  them.  Gama  proposes  that  his  three 
sons  shall  be  pitted  against  Hilarion  and  his  two  friends, 
and  if  the  latter  are  defeated  the  Princess  shall  be  free.  In 
the  contest  Gama's  sons  are  defeated,  whereupon  the  Princess 
at  once  resigns  and  accepts  Hilarion.     The  Lady  Psyche  falls 


292  THE    STANDARD    OPERAS 

to  Cyril,  and  the  delighted  Melissa  to  Florian,  and  it  is  to 
be  presumed  the  presidency  of  the  woman's  college  falls  to 
Lady  Blanche. 

As  has  already  been  intimated,  the  music  as  a  whole  is 
labored,  but  there  are  some  numbers  that  are  fully  up  to  the 
Sullivan  standard;  among  them  Hilarion's  ballad  ("  Ida  was 
a  twelvemonth  old  ")  ;  Gama's  characteristic  song  ("  If  you 
give  me  your  Attention "),  and  the  trio  of  Gama's  sons 
("For  a  Month  to  dwell")  in  the  first  act;  the  Princess's 
long  aria  ("At  this  my  Call ")  ;  Lady  Blanche's  song 
("Come,  mighty  Must");  Lady  Psyche's  sarcastic  evolu- 
tion song  ("  A  Lady  fair  of  Lineage  high  ")  ;  Cyril's  song 
("  Would  you  know  the  Kind  of  Maid ") ;  and  Hilarion's 
song  ("  Whom  thou  hast  chained  must  wear  his  Chain "), 
in  the  second  act;  and  the  Princess's  song  ("  I  built  upon 
a  Rock ") ;  Gama's  song  ("  Whene'er  I  spoke  sarcastic 
Joke");  the  soldiers'  chorus  ("When  Anger  spreads  his 
Wings  ")  ;  and  the  finale  ("  With  Joy  abiding  ")  of  the  third 
act. 


The  Mikado 

"The  Mikado;  or,  the  Town  of  Titipu,"  comic  opera  in 
two  acts,  text  by  Gilbert,  was  first  produced  at  the  Savoy 
Theatre,  London,  March  14,  1885,  and  in  New  York,  August 
19,  1885.  That  the  "  Princess  Ida,"  ineffective  as  it  is  in 
some  respects,  did  not  indicate  that  the  resources  of  Gilbert 
and  Sullivan  were  exhausted,  is  shown  by  the  great  success 
of  both  in  "  The  Mikado,"  which  immediately  followed  it. 
This  charming  travesty  of  Japan,  with  the  exception  perhaps 
of  "  Pinafore,"  has  proved  to  be  the  most  popular  of  the 
Sullivan  operas,  and  has  even  made  an  impression  in  Ger- 
many. It  has  been  an  equal  success  for  both  the  musician 
and  the  librettist,  and  still  retains  its  freshness  and  vivacity 
after  more  than  twenty-seven  years   of   performance. 

The  story  of  "  The  Mikado "  is  so  well  known  that  it 
need  not  be  given  with  much  fulness  of  detail.     Nanki-Poo, 


SULLIVAN  293 

the  Mikado's  son,  is  in  love  with  Yum- Yum,  the  ward  of 
the  tailor  Ko-Ko,  who  is  also  Lord  High  Executioner,  and 
to  whom  she  is  betrothed,  as  Nanki-Poo  is  informed  by 
Pooh-Bah,  when  he  comes  to  Titipu  in  quest  of  her.  Pooh- 
Bah,  who  accepted  all  the  offices  of  the  Ministers  of  State 
after  their  resignations  when  Ko-Ko  was  made  Lord  High 
Executioner,  is  also  "  the  retailer  of  state  secrets  at  a  low 
figure,"  and  furnishes  much  of  the  delightful  comedy  of  the 
opera.  Nanki-Poo  nevertheless  manages  to  secure  an  in- 
terview with  Yum- Yum,  confesses  to  her  he  is  the  Mikado's 
son,  and  that  he  is  in  disguise  to  escape  punishment  for  not 
marrying  the  elderly  Katisha.  Ko-Ko's  matrimonial  arrange- 
ments are  interfered  with  by  a  message  from  the  Mikado, 
that  unless  some  one  is  beheaded  in  Titipu  within  a  month 
he  will  be  degraded.  Nanki-Poo  consents  to  be  beheaded 
if  he  is  allowed  to  marry  Yum- Yum  and  live  with  her  for  the 
month.  This  being  satisfactory,  the  arrangements  for  the 
nuptials  are  made. 

The  second  act  opens  with  Yum-Yum's  preparations  for 
her  marriage.  A  tete-a-tete  with  Nanki-Poo  is  interrupted 
by  Ko-Ko,  who  announces  that  by  the  law  when  a  married 
man  is  beheaded  his  wife  must  be  buried  alive.  This  cools 
Yum-Yum's  passion,  and  to  save  her  Nanki-Poo  threatens  to 
perform  the  "  happy  despatch "  that  day.  As  this  would 
endanger  Ko-Ko,  he  arranges  to  swear  to  a  false  statement 
of  Nanki-Poo's  execution.  Suddenly  the  Mikado  arrives. 
Ko-Ko  gives  him  the  statement,  but  a  great  danger  is  im- 
minent when  the  Mikado  informs  him  he  has  killed  the  heir 
apparent  and  must  suffer  some  horrible  punishment.  In  the 
denouement  Nanki-Poo  reappears,  and  Ko-Ko  gets  out  of 
trouble  by  marrying  the  ancient  Katisha,  leaving  Yum- Yum 
to  Nanki-Poo. 

The  opera  abounds  in  charming  lyrics,  though  with  a  single 
exception,  a  march  chorus  in  the  second  act  ("  Miya  sama, 
miya  sama  "),  there  is  no  local  color  to  the  music,  as  might 
have  been  expected  in  an  opera  entirely  Japanese  in  its 
subject  and  dramatic  treatment.  Its  lyrics  are  none  the  less 
delightful  on  that  account.     The  most  popular  numbers  in  the 


g94  THE    STANDARD    OPERAS 

first  act  are  Ko-Ko's  song,  with  its  choral  response  ("  You 
may  put  'em  on  the  List  and  they  never  will  be  missed  ")  ; 
the  fascinating  trio  for  Yum- Yum,  Peep-Bo,  and  Pitti-Sing 
("  Three  little  Maids  from  School  are  we  ")  ;  Nanki-Poo's 
song  ("A  wandering  Minstrel  ")  ;  and  the  trio  for  Ko-Ko, 
Pooh-Bah,  and  Pish-Tush  ("  My  Brain,  it  teems  ").  The 
leading  numbers  of  the  second  act  are  Yum-Yum's  song 
("  The  Sun,  whose  Rays  ")  ;  the  quartet  ("  Brightly  dawns 
our  Wedding-Day  ")  ;  the  Mikado's  song  ("  A  more  humane 
Mikado  never  ")  ;  Ko-Ko's  romantic  ballad  ("  On  a  Tree  by 
a  River  a  little  Tomtit"),  which  is  in  the  genuine  old  Eng- 
lish manner,  and  the  well-known  duet  for  Nanki-Poo  and 
Ko-Ko  ("  The  Flowers  that  bloom  in  the  Spring,  tra  la  "). 


THOMAS    (CHARLES    AMBROISE) 

Mignon 

MIGNON,"  opera  comique  in  three  acts,  text  by  Barbier 
and  Carre,  the  subject  taken  from  Goethe's  "  Wilhelm 
Meister,"  was  first  produced  at  the  Opera  Comique,  Paris, 
November   17,   1866,  with  the   following  cast: 

Mignon Mme.   Galli-Mabi^. 

Wilhehn.  Meister M.  Achard. 

Laertes M.  Conders. 

Lotario M.  Bataille. 

FUina Mme.  Cabel. 

The  scene  of  the  first  two  acts  is  laid  in  Germany,  and 
of  the  third  in  Italy.  Mignon,  the  heroine,  in  her  childhood 
was  stolen  by  gypsies.  She  is  of  noble  birth.  The  mother 
died  shortly  after  her  bereavement,  and  the  father,  disguised 
as  the  harper  Lotario,  has  wandered  for  years  in  quest  of  his 
daughter.  The  opera  opens  in  the  yard  of  a  German  inn, 
where  a  troupe  of  actors^  among  them  Filina  and  Laertes, 
are  resting,  on  their  way  to  the  castle  of  a  neighboring  Prince, 
where  they  are  to  give  a  performance.  A  strolling  gypsy 
band  arrives  about  the  same  time,  and  stops  to  give  an  en- 
tertainment to  the  guests.  Mignon,  who  is  with  the  band, 
is  ordered  to  perform  the  egg  dance,  but,  worn  out  with 
fatigue  and  abusive  treatment,  refuses.  Giarno,  the  leader, 
rushes  at  her,  but  the  old  harper  interposes  in  her  behalf. 
Giarno  then  turns  upon  Lotario,  when  the  wandering  student, 
Wilhelm  Meister,  suddenly  appears  and  rescues  both  Mignon 
and  the  harper.  To  save  her  from  any  further  persecution 
he  engages  her  as  his  page,  and  follows  on  in  the  suite  of 
Filina,  for  whom  he  conceives  a  violent  and  sudden  passion. 


296  THE    STANDARD    OPERAS 

Touched  by  his  kind  attentions  to  her,  Mignon  falls  in  love 
with  Wilhelm,  who,  ignorant  of  his  page's  affection,  becomes 
more  and  more  a  prey  to  the  fascinations  of  Filina.  At  last 
the  troupe  arrives  at  the  castle,  Wilhelm  and  Mignon  with 
them.  Wilhelm  enters  with  the  others,  leaving  Mignon  to 
await  him  outside.  Maddened  with  jealousy,  she  attempts 
to  throw  herself  into  a  lake  near  by,  but  is  restrained  by  the 
notes  of  Lotario's  harp.  She  rushes  to  him  for  counsel  and 
l^rotection,  and  in  her  despair  invokes  vengeance  upon  all  in 
the  castle.  As  the  entertainment  closes,  Filina  and  her  troupe 
emerge,  joyful  over  their  great  success.  She  sends  Mignon 
back  for  some  flowers  she  has  left,  when  suddenly  flames 
appear  in  the  windows.  Maddened  by  his  own  grief  and 
Mignon's  troubles  Lotario  has  fired  the  castle.  Wilhelm 
rushes  into  the  burning  building  and  brings  out  the  uncon- 
scious Mignon  in  his  arms. 

The  last  act  opens  in  Lotario's  home  in  Italy,  whither 
Mignon  has  been  taken,  followed  by  Wilhelm,  who  has  dis- 
covered her  devoted  attachment  to  him,  and  has  freed  him- 
self from  the  fascinations  of  Filina.  Through  the  medium 
of  a  long-concealed  casket  containing  a  girdle  which  Mignon 
had  worn  in  her  childhood,  also  by  a  prayer  which  she  re- 
peats, and  the  picture  of  her  mother,  Lotario  is  at  last  con- 
vinced that  she  is  his  daughter,  and  gives  his  blessing  to  her 
union  with  Wilhelm. 

The  overture  recites  the  leading  motifs  of  the  work.  The 
first  act  opens  with  a  fresh  and  melodious  chorus  of  the 
townspeople  over  their  beer  in  the  inn  yard  ("  Su  Borghesi 
e  Magnati").  During  their  singing  a  characteristic  march 
is  heard,  and  the  gypsy  band  enters.  The  scene  is  a  charm- 
ing one,  the  little  ballet  being  made  still  more  picturesque 
by  the  fresh  chorus  and  a  song  of  Filina's  in  waltz  time. 
The  scene  of  the  encounter  with  Giarno  and  Mignon's  rescue 
follows,  and  leads  up  to  a  spirited  quintet,  which  is  followed 
by  a  graceful  trio  between  Wilhelm,  Filina,  and  Laertes,  the 
actor.  In  the  next  scene  Wilhelm  questions  Mignon  as  to  her 
history,  and  at  the  end  of  their  pathetic  duet,  when  he  says, 
"  Were   I   to   break  thy   chains   and   set  thee    free,  to   what 


THOMAS  297 

beloved  spot  wouldst  thou  take  thy  way?"  she  replies  in 
the  beautiful  romanza,  "  Non  conosci  il  bel  suol,"  familiarly 
known  in  Goethe's  own  words,  as  "  Kennst  du  das  Land/'  — ■ 
a  song  full  of  tender  beauty  and  rare  expression,  and  one 
of  the  most  delightful  inspirations  of  any  composer.  It  is 
said  that  much  of  its  charm  comes  from  the  composer's  study 
of  Ary  Scheffer's  picture  of  Mignon.  Be  this  as  it  may,  he 
has  caught  the  inner  sense  of  the  poem,  and  expressed  it  in 
exquisite  tones.  It  is  followed  almost  immediately  by  a  duet 
between  Mignon  and  Lotario  ("  Leggiadre  Rondinelle")  of 
almost  equal  beauty,  known  as  the  Swallow  Duet.  After  a 
somewhat  uninteresting  scene  between  Laertes,  Filina,  and 
Frederick,  who  is  also  in  love  with  Filina,  the  finale  begins 
with  the  departure  of  the  actors  to  fulfil  their  engagement, 
in  which  Filina,  in  a  graceful  aria  ("  Grazie  al  gentil 
Signor  "),  invites  Wilhelm  to  be  of  the  number. 

The  second  act  opens  in  Filina's  boudoir,  where  she  is  at 
her  toilet,  arraying  herself  for  her  part  as  Titania  in  the 
forthcoming  performance  of  the  "  Midsummer  Night's 
Dream  "  at  the  castle.  As  Wilhelm  and  Mignon  enter  the 
apartment,  a  very  dramatic  conversation  ensues  between 
them  in  the  form  of  a  terzetto  ("  Ohime  quell'  acre  riso  "). 
Mignon  is  in  despair  at  the  attention  Wilhelm  pays  Filina, 
and  the  latter  adds  to  her  pangs  by  singing  with  him  a  gay 
coquettish  aria  ("  Gai  Complimenti  ").  As  they  leave  the 
room  Mignon  goes  to  the  mirror  and  begins  adorning  herself 
as  Filina  had  done,  hoping  thereby  to  attract  W^ilhelm,  sing- 
ing meanwliile  a  characteristic  song  ("  Conosco  un  Zin- 
garello  ")  with  a  peculiar  refrain,  which  the  composer  him- 
self calls  the  "  Styrienne."  It  is  one  of  the  most  popular 
numbers  in  the  opera,  and  when  first  sung  in  Paris  made 
a  furor.  At  the  end  of  the  scene  Mignon  goes  into  a  cabinet 
to  procure  one  of  Filina's  dresses,  and  the  lovelorn  Fred- 
erick enters  and  sings  his  only  number  in  the  opera,  a  be- 
witching rondo  gavotte  ("Filina  nelle  sale").  Wilhelm 
enters,  and  a  quarrel  between  the  jealous  pair  is  prevented 
by  the  sudden  appearance  of  j^lignon  in  Filina's  finery.  She 
rushes  between  them,   Frederick  makes   his  exit  in  a   fume. 


298  THE    STANDARD    OPERAS 

and  Wilhelm  announces  to  Mignon  his  intention  to  leave  her, 
in  the  aria  ("  Addio,  Mignon,  fa  core  "),  one  of  the  most  pa- 
thetic songs  in  modern  opera.  In  the  next  scene  she  tears  off 
her  finery  and  rushes  out  expressing  her  hatred  of  Filina. 
The  scene  now  changes  to  the  park  surrounding  the  castle 
where  the  entertainment  is  going  on.  Mignon  hears  the  laugh- 
ter and  clapping  of  hands,  and  overcome  with  despair  at- 
tempts to  throw  herself  into  the  lake,  but  is  restrained  by 
Lotario,  and  a  beautiful  duet  ensues  between  them  ("  Sof- 
ferto  hai  tu?  ").  In  the  next  scene  Filina,  the  actors,  and 
their  train  of  followers  emerge  from  the  castle,  and  in  the 
midst  of  their  joy  she  sings  the  polacca  ("Ah!  per  stas- 
sera  "),  which  is  a  perfect  feu  de  joie  of  sparkling  music, 
closing  with  a  brilliant  cadenza.  The  finale,  which  is  very 
dramatic,  describes  the  burning  of  the  castle  and  the  rescue 
of  Mignon. 

The  last  act  is  more  dramatic  than  musical,  though  it  con- 
tains a  few  delightful  numbers,  among  them  the  chorus 
barcarole  in  the  first  scene  ("  Orsu,  sciogliam  le  vela"), 
a  song  by  Wilhelm  ("Ah!  non  credea"),  and  the  love  duet 
("Ah!  son  felice  ")  between  Wilhelm  and  Mignon,  in  which 
is  heard  again  the  cadenza  of  Filina's  polacca.  "  Mignon  " 
has  always  been  a  success,  and  will  unquestionably  always 
keep  its  place  on  the  stage,  —  longer  even  than  the  com- 
poser's more  ambitious  works,  "  Hamlet "  and  "  Fran9oise 
de  Rimini,"  by  virtue  of  its  picturesqueness  and  poetic  grace, 
as  well  as  by  the  freshness,  warmth,  and  richness  of  its 
melodies.  In  this  country  old  opera-goers  will  long  remember 
"  Mignon  "  by  the  great  successes  made  by  Miss  Kellogg  as 
Filina,  and  by  Mme.  Lucca  and  Mme.  Nilsson  in  the  title 
role. 

Hamlet 

"  Hamlet,"  grand  opera  in  five  acts,  text  by  Carre  and 
Barbier,  after  Shakespeare,  was  first  produced  at  the  Opera 
Comique,  Paris,  March  9,  1868,  and  in  London,  in  Italian,  as 
"Amleto,"  June  19,  1869.    The  cast  of  the  three  principal  roles 


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THOMAS  299 

at  the  first  performance  included  Christine  Nilsson  as  Ophelia, 
M.  Faure  as  Hamlet,  and  Mme.  Guaymat  as  the  Queen.  The 
composer  has  divided  his  work  into  five  acts,  but  a  more 
natural  division  would  be  into  seven  parts.  The  first  includes 
the  celebration  of  the  marriage  of  the  Queen  to  the  late 
King's  brother,  Hamlet's  soliloquy  thereupon,  Ophelia's  decla- 
ration of  love,  her  farewell  to  Laertes,  and  Marcellus  and 
Horatio's  announcement  of  the  appearance  of  the  ghost; 
second,  the  ghostly  apparition  upon  the  ramparts,  and 
Hamlet's  decision  to  execute  his  plan;  third,  Hamlet's 
struggle  between  duty  and  love,  the  interview  with  Ophelia 
and  the  scheme  of  the  play;  fourth,  the  paraphrase  of  the 
play  scene  and  denunciation  of  the  King  before  the  court; 
fifth,  Hamlet  in  the  Queen's  apartments,  his  famous  soliloquy 
and  the  awakening  of  the  Queen's  guilty  conscience;  sixth, 
the  death  of  Ophelia  and  the  grave-digger's  scene;  seventh, 
the  funeral  and  the  appointment  of  Hamlet  as  king.  The 
librettists  have  taken  many  liberties  with  the  original  text 
and  story  and  sometimes  in  a  manner  that  verges  upon  the 
ludicrous.  Not  the  least  of  these  liberties  are  the  introduc- 
tion of  a  ballet  in  a  tragedy  and  the  manner  in  which  Ophelia's 
mad  scene  is  treated.  In  the  denouement,  also,  the  King  is 
killed,  Hamlet  is  proclaimed  his  successor,  the  Queen  lives 
to  repent,  and  Laertes  and  also  Polonius  live.  The  graceful 
and  at  times  very  dramatic  character  of  the  music  atones 
for  any  inconsistencies  in  the  libretto.  The  most  conspicuous 
numbers  in  the  opera  are  the  fanfare  and  march  behind  the 
scenes  leading  up  to  the  first  scene,  a  chorus  of  the  courtiers 
("  luini  lieti  "),  to  the  march  accompaniment.  This  is  im- 
mediately followed  by  a  graceful  aria  for  Ophelia  ("  Angli 
eterni  "),  followed  by  a  lively  duet  for  Hamlet  and  Ophelia, 
which  in  turn  is  followed  by  a  song  for  Laertes  ("  Per 
Patrio  "),  the  scene  ending  with  the  sprightly  chorus  ("  Banda 
alio  via  mestizia  ").  In  the  second  and  third  acts,  the  strik- 
ing numbers  are  Ophelia's  brilliant  scena,  Hamlet's  impres- 
sive address  to  the  ghost,  a  simple  but  beautifully  written 
drinking-song  ("  O  Liquore  "),  the  play  scene,  Hamlet's  solil- 
oquy ("  Essere  o  no  "),  accompanied  by  trombones  in  unison. 


SOO  THE    STANDARD    OPERAS 

Ophelia's  tender  solo  ("A  questa  pie"),  and  the  dramatic 
trio  for  the  Queen,  Ophelia,  and  Hamlet  ("Deh!  vanne  a 
un  Chiostro  ").  The  dance  music  for  peasantry  in  the  fourth 
act,  incongruous  as  it  appears,  is  charming,  and  few  more 
beautiful  numbers  have  been  written  than  Ophelia's  song  in 
the  mad  scena,  bound  together  by  a  waltz  rhythm,  and  her 
apostrophe  to  the  sirens,  a  native  Swedish  melody,  as  she 
is  enticed  by  them  to  the  waters  upon  which  the  song  grad- 
ually dies  away  as  she  disappears.  The  best  music  in  the 
fifth  act  is  to  be  found  in  Hamlet's  aria,  the  funeral  music, 
and  the  closing  chorus   ("  Povero  fior"). 


THUILLE    (LUDWIG) 

Lobetanz 

"  T  OBETANZ/'  a  musical  play  in  three  acts,  music  by 
I  J  Ludwig  Thuille,  text  by  Otto  Julius  Bierbaum,  was 
first  performed  in  Mannheim  in  1898  and  in  this  country 
at  the  Metropolitan  Opera  House,  New  York,  November 
18,  1911,  with  the  following  cast  of  principal  characters: 

Lobetanz Hermann  Jadlowker. 

The  Princess Johanna  Gadski. 

The  King Wiluam  Hinshaw. 

First  Dark  Girl LENOR.^.  Sparkes. 

First  Fair  Girl Anna  Case. 

The  Forester Basil  Rutsdael. 

The  Hangman Osa\R  Sannee. 

The  Judge Herbert  Witherspoon. 

The  story  of  "  Lobetanz  "  is  the  story  of  a  melancholy 
Princess  who  is  ill  and  cannot  be  roused  by  any  diversion. 
The  poets  have  done  their  best  upon  a  festival  song  day  but 
in  vain,  when  along  comes  Lobetanz,  a  wandering  fiddler. 
In  the  midst  of  the  prize  singing  a  lovely  violin  melody  is 
heard  from  an  arbor  where  Lobetanz  is  concealed.  The  music 
so  affects  the  Princess  that  she  becomes  unconscious,  and 
Lobetanz,  accused  of  magic,  has  to  flee  for  his  life. 

The  second  act  opens  in  the  woods.  Lobetanz  secures  the 
goodwill  of  the  old  forester.  He  falls  asleep  in  a  linden  tree 
which  contains  the  Princess'  favorite  seat  and  dreams  that 
a  raven  has  stolen  his  cap.  The  forester  tells  him  that  the 
raven  has  flown  to  the  gallows  with  it.  They  are  interrupted 
by  the  King  and  his  huntsmen,  who  arrest  Lobetanz.  He 
is  sentenced  to  die,  whereupon  the  Princess,  who  is  recover- 
ing, grows  ill  again. 


302  THE    STANDARD    OPERAS 

The  third  act  opens  in  the  prison.  Two  women,  fellow 
captives,  taunt  him  with  having  wooed  a  Princess.  Their  jibes 
and  ribald  songs  are  interrupted  by  the  hangman,  who  takes 
Lobetanz  to  the  gallows.  His  death  is  to  restore  the  Princess 
to  life  and  her  body  is  brought  in  upon  a  bier.  He  asks 
leave  to  play,  and  at  the  first  sound  of  the  instrument  color 
begins  to  come  into  her  cheeks.  The  King  declares  Lobe- 
tanz shall  be  his  son  if  the  Princess  recovers.  He  there- 
upon begins  to  sing,  and  she  rises  and  fixes  her  eyes  upon 
him.  .  He  then  plays  a  dance  melody,  and  King,  Princess, 
headsman  and  all  begin  to  dance.  The  raven  drops  the 
stolen  cap  upon  the  gallows,  a  sign  of  marriage,  and  the 
scene  ends  in  a  riotous  whirl  of  merriment. 

The  principal  numbers  in  the  opera  are  the  girls'  choruses, 
the  court  pageant  music,  and  the  air  of  the  Princess,  in  the 
first  act;  the  monologue  and  folksong  of  Lobetanz  and  love 
duet  in  the  second;  and  the  scene  at  the  gallows,  Lobetanz' 
song,  and  the  dance  music  closing  the  third. 


TCHAIKOVSKY    (PETER    ILYITCH) 

Eugen  Onegin 

"1~1UGEN  ONEGIN,"  grand  opera  in  three  acts,  text  by 
rj  M.  Kashkin,  after  M.  Poushkin's  novel  in  verse  with  the 
same  title,  was  first  produced  in  St.  Petersburg  in  May, 
1877.  An  introduction  founded  upon  themes  in  the  opera 
ffives  the  substance  of  the  musical  material  of  the  work. 
The  first  act  opens  in  the  gardens  of  the  Levins's  country 
house  and  discloses  Madame  Levin  engaged  in  domestic  duties, 
and  her  two  daughters,  Olga  and  Tatiana,  seated  by  a  win- 
dow. The  opening  number  is  a  charming  duet  for  the  sisters, 
based  upon  an  old  folk  song  ("  Hearest  thou  the  Nightin- 
gale.'' ")  through  which  is  heard  the  chatter  of  the  servants. 
After  a  quartet,  the  peasants  enter  with  birthday  congratu- 
lations, following  which  comes  a  pretty  ballad  for  Olga  ("I 
have  no  Mind  for  Languor  or  for  Sadness  ").  The  scene 
develops  that  Olga  has  a  lover,  Lenski,  who  now  makes  his 
appearance,  bringing  with  him  his  friend,  Eugen  Onegin. 
The  latter  entertains  Tatiana  with  some  expressive  recitative 
and  they  wander  away  into  the  garden.  After  they  are  gone, 
Lenski  sings  an  impassioned  love  song  ("  I  love  you,  Olga  "). 
The  next  scene  discloses  Tatiana  in  her  chamber,  visited  by 
the  old  nurse.  The  latter  easily  discovers  that  Tatiana  has 
lost  her  heart  to  the  young  stranger.  A  very  emotional 
scene  occurs,  especially  the  nurse's  tale  of  love,  which  is  in 
the  style  of  the  folk  song,  followed  by  Tatiana's  confession 
of  love  for  Eugen  in  the  song  ("  Nay,  though  I  be  undone  "). 
The  rest  of  the  scene  is  an  orchestral  description  of  her 
emotions,  as  she  writes  a  letter  which  she  entrusts  to  the 
nurse  to  deliver  to  Onegin.  The  closing  scene,  opening  with 
a  chorus  of  peasant  girls,  is  in  the  garden  where  Tatiana 


304  THE    STANDARD    OPERAS 

meets  Eugen.  He  thanks  her  for  the  letter,  but  in  a  most 
nonchalant  manner  informs  her  he  has  only  a  brotherly  re- 
gard for  her,  and  then  leaves  her  overcome  with  shame. 

The  second  act  opens  with  a  ball-scene  at  the  house  in 
honor  of  Tatiana's  birthday,  in  which  a  very  effective  waltz 
is  heard.  Onegin  is  there  and  rouses  Lenski's  jealousy  by 
flirting  with  Olga  and  taking  her  away  for  a  dance.  In  the 
same  scene,  Triquet,  a  Frenchman,  sings  couplets,  based  upon 
an  old  French  chanson,  to  Tatiana,  after  which  a  mazurka 
takes  the  place  of  the  waltz,  and  Olga  is  again  seen  dancing 
with  Eugen.  Lenski,  losing  his  temper,  challenges  his  friend, 
which  makes  a  powerful  concerted  close  to  the  scene.  The 
last  scene  is  a  winter  landscape  in  the  early  morning.  Lenski, 
while  awaiting  Eugen's  arrival,  sings  a  sentimental  song 
("  My  Days  of  Youth,  where  have  they  fled.^  ").  Then  ensues 
the  duel,  and  Lenski  is  killed. 

The  third  act,  after  a  supposed  lapse  of  five  years,  opens 
in  a  handsome  house  in  St.  Petersburg,  and  guests  are  mov- 
ing about  to  the  music  of  a  polonaise.  Eugen  is  seen  in  a 
melancholy  mood,  the  victim  of  remorse,  which  he  describes 
in  long  and  gloomy  recitative.  While  thus  engaged,  he  ob- 
serves a  familiar  face  and  inquiring  of  a  friend.  Prince 
Gremin,  who  she  is,  finds  she  is  the  wife  of  the  latter.  He 
now  falls  hopelessly  in  love  with  Tatiana.  The  closing  scene 
is  in  Princess  Gremin's  apartments.  Eugen  bursts  in  upon 
her  with  a  declaration  of  love  and  tries  to  induce  her  to  fly 
with  him.  A  dramatic  duet  follows  between  them,  but  even 
while  acknowledging  she  still  loves  him,  she  breaks  away 
from  him,  leaving  him  alone.  His  last  words  are,  "  Despised, 
rejected,  oh,  what  Misery  is  mine!" 


Dame  de  Pique 

"  Dame  de  Pique  "  ("  Queen  of  Spades  ")  was  first  pro- 
duced in  Moscow  in  1890,  three  years  before  the  composer's 
death,  and  for  the  first  time  in  this  country  in  1910.  The 
libretto,  based  upon  a  tale  by  Poushkin,  was  written  by  the 


TCHAIKOVSKY  305 

composer's  brother,  Modeste  Ilich  Tchaikovsky,  and  the 
opera  is  arranged  in  four  acts.  The  music  was  written  at 
first  for  another  libretto  based  upon  "  The  Captain's  Daugh- 
ter," also  a  Poushkin  story,  but  for  some  reason  the  com- 
poser abandoned  it  after  progressing  through  a  considerable 
portion  of  the  score. 

The  opening  scene  is  laid  in  the  Winter  Garden  at  St. 
Petersburg  where  Hermann,  a  young  officer,  tells  his  friend 
Tomski  of  his  love  for  Lisa,  granddaughter  of  an  old  Countess 
who  had  been  a  famous  beauty  in  her  youth.  Hermann, 
thinking  that  he  cannot  win  the  hand  of  Lisa  without  money, 
is  in  despair.  Tomski  tells  him  the  story  of  the  past  life 
of  the  Countess,  who  was  so  infatuated  with  gambling  that 
she  gave  up  all  her  suitors  and  became  known  as  the  Queen 
of  Spades.  One  of  these  suitors,  the  Count  St.  Germain, 
offered  to  tell  her  the  run  of  three  cards  which  would  always 
be  successful  if  she  would  accept  him  and  to  this  she  agreed, 
but  that  night  a  spectre  told  her  she  would  die  if  a  lover 
should  ever  demand  from  her  the  secret  of  the  three  cards. 

In  the  second  act  Hermann  makes  love  to  the  Countess 
and  asks  her  the  secret  of  the  cards.  She  refuses  to  tell 
him.  Whereupon  he  threatens  her  with  a  pistol  and  so 
alarms  her  that  she  falls  dead.  Later,  her  funeral  proces- 
sion passes  his  barracks  and  her  ghost  appears  to  him,  an- 
nouncing the  secret  of  the  cards  and  at  the  same  time  his 
fate. 

The  third  act  reveals  Lisa  on  the  banks  of  the  Neva  wait- 
ing for  Hermann  to  come  to  her.  Infatuated  with  gambling 
and  excited  with  the  knowledge  of  the  Countess'  secret,  he 
forgets  Lisa  who  in  her  despair  over  her  abandonment  throws 
herself  into  the  river. 

The  last  act  discloses  Hermann  still  in  the  gambling  house, 
winning  steadily  with  the  aid  of  the  secret.  In  an  unfor- 
tunate moment  he  turns  the  Queen  of  Spades  and  loses  all 
he  has  won.  The  ghost  of  the  Countess  appears  to  him  again, 
demanding  his  life.  The  warning  by  the  spectre  who  had 
appeared  to  the  Countess  when  she  obtained  the  secret  is 
fulfilled,  for  Hermann  stabs  himself. 


306  THE    STANDARD    OPERAS 

There  is  little  set  melody  in  the  opera,  its  music  being 
mainly  dramatic  and  passionate  recitative  marked  by  that 
tinge  of  melancholy  which  characterizes  so  much  of  Tchai- 
kovsky's music.  Its  leading  numbers  are  the  quintet  by 
Hermann's  friends  in  the  garden  scene,  Tomski's  song  de- 
scribing the  past  life  of  the  Countess  with  the  three  card 
refrain,  and  the  passionate  duet  between  Lisa  and  Hermann 
in  the  first  act;  the  masked  ball  with  the  music  of  the  shep- 
herds and  shepherdesses  and  minuet,  written  in  Mozartean 
manner,  and  the  scene  in  the  Countess'  chamber  when  Her- 
mann seeks  to  obtain  the  secret,  in  the  second;  the  ghost 
scene  with  the  storm  accompaniment  and  the  closing  duet 
of  Hermann  and  Lisa  in  the  third;  and  the  climax  of  Her- 
mann's death  in  the  gambling  house. 


VERDI    (GIUSEPPE) 

Ernani 

ERNANI,"  opera  in  four  acts,  text  by  F.  M.  Piave,  the 
subject  taken  from  Victor  Hugo's  tragedy  of  "  Her- 
nani/'  was  first  produced  at  the  Teatro  Fenice,  Venice^  March 
9,  1844.  The  earlier  performances  of  the  opera  gave  the 
composer  much  trouble.  Before  the  first  production  the  police 
interfered,  refusing  to  allow  the  representation  of  a  conspiracy 
on  the  stage,  so  that  many  parts  of  the  libretto,  as  well  as 
much  of  the  music,  had  to  be  changed.  The  blowing  of 
Don  Silva's  horn  in  the  last  act  was  also  objected  to  by 
one  Count  Mocenigo,  upon  the  singular  ground  that  it  was 
disgraceful.  The  Count,  however,  was  silenced  more  easily 
than  the  police.  The  chorus  "  Si  ridesti  il  Leon  di  Castiglia  " 
also  aroused  a  political  manifestation  by  the  Venetians.  The 
opera  was  given  in  Paris,  January  6,  1846,  and  there  it 
encountered  the  hostility  of  Victor  Hugo,  who  demanded  that 
the  libretto  should  be  changed.  To  accommodate  the  irate 
poet,  the  words  were  altered,  the  characters  were  changed 
to  Italians,  and  the  new  title  of  "  II  Proscritto  "  was  given 
to  the  work. 

The  action  of  the  opera  takes  place  in  Aragon,  Spain,  and 
the  period  is  1519.  Elvira,  a  noble  Spanish  lady,  betrothed 
to  the  grandee  Don  Gomez  de  Silva,  is  in  love  with  the  bandit 
Ernani,  who  forms  a  plan  to  carry  her  oif.  While  receiving 
the  congratulations  of  her  friends  upon  her  approaching 
marriage  with  Silva,  Don  Carlos,  the  King  of  Spain,  enters 
her  apartment,  declares  his  passion  for  her,  and  tries  to  force 
her  from  the  castle.     She  cries  for  help,  and  Ernani  comes 


308  THE    STANDARD    OPERAS 

to  her  rescue  and  defies  the  King.  The  situation  is  still 
further  complicated  by  the  sudden  arrival  of  Silva,  who 
declares  he  will  avenge  the  insult.  Finding,  however,  that 
it  is  the  King  whom  he  has  challenged,  he  sues  for  pardon. 
In  the  second  act,  as  the  nuptials  are  about  to  be  solemnized, 
Ernani  enters,  disguised  as  a  pilgrim,  and  believing  Elvira 
false  to  him,  throws  oil  his  disguise  and  demands  to  be  given 
up  to  the  King,  which  Silva  refuses,  as  he  cannot  betray  a 
guest.  Discovering,  however,  that  Elvira  and  Ernani  are 
attached  to  each  other,  he  determines  on  vengeance.  The 
King  eventually  carries  off  Elvira  as  a  hostage  of  the  faith 
of  Silva,  whereupon  the  latter  challenges  Ernani.  The  bandit 
refuses  to  fight  with  him,  informs  him  that  the  King  is  also 
his  rival,  and  asks  to  share  in  his  vengeance,  promising  in 
turn  to  give  up  his  life  when  Silva  calls  for  it,  and  present- 
ing him  with  a  horn  which  he  is  to  sound  whenever  he  wishes 
to  have  the  promise  kept.  In  the  third  act,  the  King,  aware 
that  the  conspirators  are  to  meet  in  the  catacombs  of  Aquis- 
grana,  conceals  himself  there,  and  when  the  assassins  meet 
to  decide  who  shall  kill  him,  he  suddenly  appears  among 
them  and  condemns  the  nobles  to  be  sent  to  the  block.  Ernani, 
who  is  a  Duke,  under  the  ban  of  the  King  of  Castile,  demands 
the  right  to  join  them,  but  the  King  magnanimously  pardons 
the  conspirators  and  consents  to  the  union  of  Ernani  and 
Elvira.  Ujoon  the  very  eve  of  their  happiness,  and  in  the 
midst  of  their  festivities,  the  fatal  horn  is  heard,  and  true 
to  his  promise  Ernani  parts  from  Elvira  and  kills  himself. 

The  first  act  opens  with  a  spirited  chorus  of  banditti  and 
mountaineers  ("  Allegri,  beviami  ")  as  they  are  drinking  and 
gambling  in  their  mountain  retreat.  Ernani  appears  upon  a 
neighboring  height  and  announces  himself  in  a  despondent 
aria  ("  Come  rugiada  al  Cespite  ").  A  brief  snatch  of  chorus 
intervenes,  when  he  breaks  out  in  a  second  and  more  pas- 
sionate strain  ("Dell'  Esilio  nel  Dolore  "),  in  which  he  sings 
of  his  love  for  Elvira.  The  third  scene  opens  in  Elvira's 
apartments,  and  is  introduced  with  one  of  the  most  beautiful 
of  Verdi's  arias,  "  Ernani,  involami,"  with  which  all  concert- 
goers  have  become  acquainted  by  its  frequent  repetition.     A 


»•  * 


Sembrich  as  Elvira 


CopyrigJU,  Ainie  Dltpoiit 


VERDI  309 

graceful  chorus  of  her  ladies  bearing  gifts  leads  to  a  second 
and  more  florid  number  ("  Tutto  sprezzo  che  d'  Ernani  "). 
Don  Carlos  enters,  and  in  the  seventh  scene  has  an  aria 
("  Bella  come  un  primo  Amore  ")  in  which  he  declares  his 
passion  for  Elvira,  leading  up  to  a  dramatic  duet  between 
them  ("  Fiero  Sangue  d'  Aragona  ").  This  is  followed  in  turn 
by  a  trio  between  the  two  and  Ernani.  The  finale  commences 
with  an  impressive  and  sonorous  bass  solo  ("  Infelice !  e  tuo 
credevi  ")  by  Silva,  and  closes  with  a  septet  and  chorus. 

The  second  act,  like  the  first,  opens  with  a  chorus,  this 
time,  however,  of  mixed  voices,  the  power  of  which  is  am- 
plified by  a  military  band  on  the  stage.  After  three  scenes 
of  dramatic  dialogue,  an  impassioned  duet  ("  Ah !  morir  po- 
tessi  adesso!")  occurs  between  Ernani  and  Elvira,  followed 
by  a  second,  of  great  dramatic  intensity,  in  the  seventh  scene 
("  La  Vendetta  piu  tremenda  ").  The  finale  begins  with  a 
spirited  appeal  by  Silva  and  Ernani  for  vengeance  against 
the  King  ("  In  Arcione,  Cavalieri  ")  which  is  met  by  a  stirring 
response  from  their  followers  ("  Pronti  vedi  li  tuoi  Cava- 
lieri "),  sung  by  full  male  chorus  and  closing  the  act. 

The  third  act  is  devoted  to  the  conspiracy,  and  in  the 
second  scene  Don  Carlos  has  an  impressive  and  at  times 
thrilling  soliloquy  ("  Gran  Dio  !  costo  sui  sepolcrali  Marmi  "). 
The  finale  commences  with  the  appearance  of  Don  Carlos 
among  the  conspirators,  and  closes  with  the  sextet  and  chorus, 
"  O  Sommo  Carlo."  Opening  with  a  barytone  solo  it  is  gradu- 
ally worked  up  in  a  crescendo  of  great  power.  The  number 
is  familiar  from  its  English  setting  under  the  title,  "  Crowned 
with  the  Tempest." 

The  fourth  act  rapidly  hurries  to  the  tragic  close,  and  is 
less  interesting  from  a  musical  point  of  view,  as  the  climax 
was  reached  in  the  finale  of  the  third.  The  principal  num- 
bers are  the  chorus  of  masks  in  the  first  scene  ("  O  come 
felici  "),  accompanied  bj'^  military  band,  and  the  duet  between 
Elvira  and  Ernani  ("  Cessaro  i  suoni  ")  which  passes  from 
rapturous  ecstasy  to  the  despair  of  fate  ("  Per  noi  d'  Amore 
il  Talamo  ")  as  the  horn  of  Silva  is  heard,  reminding  Ernani 
of  his  promise.     Though  one  of  the  earliest  of  Verdi's  works, 


310  THE    STANDARD    OPERAS 

"  Ernani  "  is  one  of  his  strongest  in  dramatic  intensity,  in 
the  brilliancy  and  power  of  its  concerted  finales,  and  in  the 
beauty  of  its  chorus  effects. 


Rigoletto 

"  Rigoletto/'  opera  in  three  acts,  text  by  Piave,  the  subject 
taken  from  Victor  Hugo's  tragedy,  "  Le  Roi  s'amuse,"  was 
first  produced  at  Venice,  March  11,  1851,  with  the  following 
cast  of  the  leading  parts: 

Rigoletto Sig.  Coletti. 

Duke Sig.  Beatjcarde. 

Gilda     .    .    .    .' Signora  Evers. 

The  part  of  Gilda  has  always  been  a  favorite  one  with 
great  artists,  among  whom  Nantier-Didiee,  Bosio,  and  Miolan- 
Carvalho  played  the  role  with  extraordinary  success.  In  the 
London  season  of  1860  Mario  and  Ronconi  in  the  respective 
parts  of  the  Duke  and  Rigoletto,  it  is  said,  gave  dramatic 
portraitures  which  were  among  the  most  consummate  achieve- 
ments of  the  lyric  stage.  The  records  of  its  first  production, 
like  those  of  "  Ernani,"  are  of  unusual  interest.  Verdi  him- 
self suggested  Victor  Hugo's  tragedy  to  Piave  for  a  libretto, 
and  he  soon  prepared  one,  changing  the  original  title,  how- 
ever, to  "  La  Maledizione."  Warned  by  the  political  events 
of  1848,  the  police  flatly  refused  to  allow  the  representation 
of  a  king  on  the  stage  in  such  situations  as  those  given  to 
Francis  I.  in  the  original  tragedy.  The  composer  and  the 
manager  of  the  theatre  begged  in  vain  that  the  libretto  should 
be  accepted,  but  the  authorities  were  obstinate.  At  last  a  way 
was  found  out  of  the  difficulty  by  the  chief  of  police  himself, 
Avho  was  a  great  lover  of  art.  He  suggested  to  the  librettist 
that  the  King  should  be  changed  to  a  Duke  of  Mantua,  and 
the  title  of  the  work  to  "  Rigoletto,"  the  name  of  the  buffoon 
who  figures  in  the  place  of  the  original  Triboulet.  Verdi 
accepted  the  alterations,  and  had  an  opera  ready  in  forty 
days   which   by   nearly   all   critics   is    considered   his   musical 


t;  I 


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VERDI  811 

masterpiece,  notwithstanding  the  revolting  character  of  the 
story. 

The  scene  of  the  opera  is  laid  in  Mantua.  Rigoletto,  the 
privileged  buffoon  of  the  Duke,  who  also  plays  the  part  of 
pander  in  all  his  licentious  schemes,  among  numerous  other 
misdeeds  has  assisted  his  master  in  the  seduction  of  the  wife 
of  Count  Ceprano  and  the  daughter  of  Count  Monterone.  The 
latter  appears  before  the  Duke  and  Rigoletto,  and  demands 
reparation  for  the  dishonor  put  upon  his  house,  only  to  find 
himself  arrested  by  order  of  the  Duke,  and  taunted  in  the 
most  insolent  manner  by  the  buffoon,  upon  whom  he  invokes 
the  vengeance  of  Heaven.  Even  the  courtiers  themselves  are 
enraged  at  Rigoletto's  taunts,  and  determine  to  assist  in 
Monterone's  revenge  by  stealing  Gilda,  the  jester's  daughter, 
whom  they  suppose  to  be  his  mistress.  Closely  as  she  had 
been  concealed,  she  had  not  escaped  the  observation  of  the 
Duke,  who  in  the  guise  of  a  poor  student  wins  her  affections 
and  discovers  her  dwelling-place.  Pretending  that  it  is  Count 
Ceprano's  wife  whom  they  are  about  to  abduct,  they  even 
make  Rigoletto  assist  in  the  plot  and  help  convey  his  own 
daughter  to  the  Duke's  apartments.  In  his  blind  fury  when 
he  discovers  the  trick  that  has  been  played  upon  him,  he 
hires  Sparafucile,  a  professional  assassin,  to  kill  the  Duke. 
The  bravo  allures  the  Duke  to  his  house,  intending  to  carry 
out  his  agreement;  but  his  sister,  Magdalena,  is  so  fascinated 
with  the  handsome  stranger,  that  she  determines  to  save  him. 
Sparafucile  at  first  will  not  listen  to  her,  but  finally  promises 
if  any  one  else  comes  to  the  house  before  the  time  agreed 
upon  for  the  murder  he  shall  be  the  victim.  Rigoletto  mean- 
while disguises  his  daughter  in  male  attire  in  order  that  she 
may  escape  to  Verona;  but  before  she  sets  out  he  takes  her 
to  the  vicinity  of  Sparafucile's  house,  that  she  may  witness 
the  perfidy  of  the  Duke.  While  outside,  she  overhears  the 
quarrel  between  Sparafucile  and  Magdalena,  and  learns  his 
intention  to  murder  the  Duke,  who  is  even  then  sleeping  in 
the  house.  With  a  woman's  devotion  she  springs  forward 
to  save  the  Duke's  life,  knocks  at  the  door,  and  demands 
admittance.      Sparafucile   opens   it,   and   as   she   enters   stabs 


312  THE    STANDARD    OPERAS 

her.  He  then  thrusts  her  body  into  a  sack,  and  delivers  it 
to  her  father  as  the  body  of  the  man  whom  he  had  agreed 
to  slay.  Rigoletto,  gloating  over  his  revenge,  is  about  to 
throw  the  sack  into  the  river  near  by,  when  he  suddenly 
hears  the  voice  of  the  Duke.  He  tears  open  the  sack  to  see 
whose  body  it  contains,  and  by  the  glare  of  the  lightning 
is  horrified  to  find  that  it  is  his  own  daughter,  and  realizes 
that  the  malediction  of  Monterone  has  been  accomplished. 
She  expires  in  his  arms,  blessing  her  lover  and  father,  while 
he  sinks  to  the  ground  overwhelmed  with  the  fulfilment  of 
the  terrible  curse. 

The  first  act  opens  in  the  ballroom  of  the  ducal  palace. 
After  a  brief  dialogue  between  the  Duke  and  one  of  his 
courtiers,  the  former  vaunts  his  own  fickleness  in  one  of  the 
most  graceful  and  charming  arias  in  the  whole  opera  ("  Questa 
o  quella").  Some  spirited  dramatic  scenes  follow,  which  in- 
troduce the  malediction  of  Monterone  and  the  compact  be- 
tween Rigoletto  and  Sparafucile,  and  lead  up  to  a  scena  of 
great  power  ("  lo  la  Lingua,  egli  ha  il  Pugnali  "),  in  which 
the  buffoon  vents  his  furious  rage  against  the  courtiers.  A 
tender  duet  between  Rigoletto  and  Gilda  follows,  and  a  second 
duet  in  the  next  scene  between  Gilda  and  the  Duke  ("  Addio, 
Speranza  ed  Anima"),  which  for  natural  grace,  passionate 
intensity,  and  fervid  expression  is  one  of  Verdi's  finest  num- 
bers. As  the  Duke  leaves,  Gilda,  following  him  with  her 
eyes,  breaks  out  in  the  passionate  love-song,  "  Caro  Nome," 
which  is  not  alone  remarkable  for  its  delicacy  and  richness 
of  melody,  but  also  for  the  brilliancy  of  its  bravura,  calling 
for  rare  range  and  flexibility  of  voice.  The  act  closes  with 
the  abduction,  and  gives  an  opportunity  for  a  delightful  male 
chorus    ("  Zitti,  zitti  ")   sung  pianissimo. 

The  second  act  also  opens  in  the  palace  with  an  aria  by 
the  Duke  ("  Parmi  veder  le  Lagrime  "),  in  which  he  laments 
the  loss  of  Gilda.  Another  fine  chorus  ("  Scorrendo  uniti 
remota  Via  ")  follows,  from  which  he  learns  that  Gilda  is 
already  in  the  palace.  In  the  fourth  scene  Rigoletto  has 
another  scena  ("  Cortigiani  vil  razza  dannata  "),  expressing 
in  its  musical  alternations  the  whole  gamut  of  emotions,  from 


VERDI  313 

the  fury  of  despair  to  the  most  exquisite  tenderness  of  appeal 
as  he  pleads  with  the  courtiers  to  tell  him  where  his  daughter 
is.  In  the  next  scene  he  discovers  her,  and  the  act  closes 
with  a  duet  between  them  ("  Tutte  le  Feste  al  Tempio "), 
which,  after  a  strain  of  most  impassioned  tenderness,  is  in- 
terrupted by  the  passage  of  the  guards  conveying  Monterone 
to  prison,  and  then  closes  with  a  furious  outburst  of  passion 
from  Rigoletto.  With  the  exception  of  two  numbers,  the  last 
act  depends  for  its  effect  upon  the  dramatic  situations  and 
the  great  power  of  the  terrible  denouement;  but  these  tAvo 
numbers  are  among  the  finest  Verdi  has  ever  given  to  the 
world.  The  first  is  the  tenor  solo  sung  in  Sparafucile's  house 
in  the  second  scene  by  the  Duke  ("La  Donna  e  mobile"), 
an  aria  of  extreme  elegance  and  graceful  abandon,  which  is 
heard  again  in  the  last  scene,  its  lightly  tripping  measures 
contrasting  strangely  with  the  savage  glee  of  Rigoletto,  so 
soon  to  change  to  wails  of  despair  as  he  realizes  the  full  force 
of  the  malediction.  The  second  is  the  great  quartet  in  the 
third  scene  between  the  Duke,  Gilda,  Magdalena,  and  Rigo- 
letto ("  Bella  Figlia  dell'  Amore  ")  which  stands  out  as  an 
inspiration  in  comparison  with  the  rest  of  the  opera,  fine  as 
its  music  is.  The  story  itself  is  almost  too  repulsive  for 
stage  representation ;  but  in  beauty,  freshness,  originality, 
and  dramatic  expression  the  music  of  "  Rigoletto  "  is  Verdi's 
best;   and  in  all  this  music  the  quartet  is  the  masterpiece. 


La  Traviata 

"  La  Traviata,"  opera  in  three  acts,  text  by  Piave,  is 
founded  upon  Dumas's  "  Dame  aux  Camelias,"  familiar  to 
the  English  stage  as  "  Camille,"  and  was  first  produced  at 
Venice,  March  6,  1853,  with  the  following  cast  of  the  prin- 
cipal parts : 

Violetta Mme.  Donatelu. 

Alfredo M.  Graziani. 

Qermont M.  Varesi. 


314  THE    STANDARD    OPERAS 

The  original  play  is  supposed  to  represent  phases  of  mod- 
ern French  life;  but  the  Italian  libretto  changes  the  period 
to  the  year  1700^  in  the  days  of  Louis  XIV;  and  there  are 
also  some  material  changes  of  characters,  —  Marguerite 
Gauthier  of  the  original  appearing  as  Violetta  Valery,  and 
Olympia  as  Flora  Belvoix,  at  whose  house  the  ball  scene 
takes  place. 

The  opera  at  its  first  production  was  a  complete  failure, 
though  this  was  due  more  to  the  singers  than  to  the  music. 
It  is  said  that  when  the  doctor  announced  in  the  third  act 
that  !Mme.  Donatelli,  who  impersonated  the  consumptive 
heroine,  and  who  was  one  of  the  stoutest  ladies  ever  seen 
on  the  stage,  had  but  a  few  days  to  live,  the  whole  audience 
broke  out  into  roars  of  laughter.  Time  has  brought  its  con- 
solations to  the  composer,  however,  for  "  Traviata  "  is  now 
one  of  the  most  popular  operas  in  Italian  repertory.  When 
it  was  first  produced  in  Paris,  October  27,  1864,  Christine 
Nilsson  made  her  debut  in  it.  In  London,  the  charming 
little  singer  Mme.  Piccolomini  made  her  debut  in  the  same 
opera.  May  24,  1856.  Adelina  Patti,  subsequently,  not  only 
made  Violetta  the  strongest  character  in  her  repertory,  but 
has  been  without  question  the  most  finished  representative  of 
the  fragile  heroine  the  stage  has  seen. 

The  story  as  told  by  the  librettist  simply  resolves  itself 
into  three  principal  scenes,  —  the  supper  at  Violetta's  house, 
where  she  makes  the  acquaintance  of  Alfred,  and  the  rupture 
between  them  occasioned  by  the  arrival  of  Alfred's  father; 
the  ball  at  the  house  of  Flora;  and  the  death  scene  and 
reconciliation,  linked  together  by  recitative,  so  that  the  dra- 
matic unity  of  the  original  is  lost  to  a  certain  extent.  The 
first  act  opens  with  a  gay  party  in  Violetta's  house.  Among 
the  crowd  about  her  is  Alfred  Germont,  a  young  man  from 
Provence,  who  is  passionately  in  love  with  her.  The  sincerity 
of  his  passion  finally  influences  her  to  turn  aside  from  her 
life  of  voluptuous  pleasure  and  to  cherish  a  similar  sentiment 
for  him.  In  the  next  act  we  find  her  living  in  seclusion  with 
her  lover  in  a  country-house  in  the  environs  of  Paris,  to 
support  which  she  has  sold  her  property  in  the  city.     When 


Geraldine  Farrar  as  Vioietta 


VERDI  315 

Alfred  discovers  this  he  refuses  to  be  the  recipient  of  her 
bounty,  and  sets  out  for  Paris  to  recover  the  property.  Dur- 
ing his  absence  his  father,  who  has  discovered  his  retreat, 
visits  Violetta,  and  pleads  with  her  to  forsake  Alfred,  not 
only  on  his  own  account,  but  to  save  his  family  from  dis- 
grace. Touched  by  the  father's  grief,  she  consents,  and 
secretly  returns  to  Paris,  where  she  once  more  resumes  her 
old  life.  At  a  ball  given  by  Flora  Belvoix,  one  of  Violetta's 
associates,  Alfred  meets  her  again,  overwhelms  her  with  re- 
proaches, and  insults  her  by  flinging  her  miniature  at  her 
feet  in  presence  of  the  whole  company.  Stung  by  her  degra- 
dation, Violetta  goes  home  to  die,  and  too  late  Alfred  learns 
the  real  sacrifice  she  has  made.  He  hastens  to  comfort  her, 
but  she  dies   forgiving  and  blessing  him. 

After  a  short  prelude  the  first  act  opens  with  a  vivacious 
chorus  of  the  guests  at  Violetta's  supper,  leading  to  a  drink- 
ing song  ("  Libiamo,  libiamo  ")  in  waltz  time,  sung  first  by 
Alfred  and  then  by  Violetta,  the  chorus  echoing  each  couplet 
with  very  pretty  effect.  After  a  long  dialogue  between  the 
two,  closing  with  chorus,  Violetta  has  a  grand  scena  which 
is  always  a  favorite  show-piece  with  concert  artists.  It  begins 
with  an  andante  movement  ("Ah!  fors  e  lui  "),  expressive 
of  the  suddenly  awakened  love  which  she  feels  for  Alfred, 
vrith  a  refrain  of  half  a  dozen  measures  in  the  finale  which 
might  be  called  the  Violetta  motive,  and  then  suddenly  de- 
velops into  a  brisk  and  sparkling  allegro  ("  Sempre  libera") 
full  of  the  most  florid  and  brilliant  ornamentation,  in  which 
she  again  resolves  to  shut  out  every  feeling  of  love  and  plunge 
into  the  whirl  of  dissipation.  This  number,  unlike  most  of 
Verdi's  finales,  which  are  concerted,  closes  the  act. 

The  second  act  opens  in  the  country-house  with  an  effective 
tenor  aria  ("  De'  miei  bollenti  ")  sung  by  Alfred.  In  the 
next  scene  Germont  enters,  and  after  a  brief  dialogue  with 
Violetta  sings  a  short  cantabile  ("  Pura  siccome  un  Angelo  "), 
leading  to  a  duet  ("  Dite  alia  Giovine  ")  with  Violetta  which 
is  full  of  tenderness.  In  the  interview  which  immediately 
follows  between  Germont  and  Alfred,  the  father  appeals  to 
his  son  with  memories  of  home  in  an  andante  ("  Di  Provenza 


316  THE    STANDARD    OPERAS 

il  mar  ")  which  in  form  and  simplicity  and  simple  pathos 
of  expression  might  almost  be  called  a  ballad.  The  next 
scene  changes  to  the  ballroom  of  Flora,  and  is  introduced 
with  a  peculiar  chorus  effect.  A  masked  chorus  of  gypsies, 
accompanying  their  measures  with  tambourines,  is  followed 
by  a  second  chorus  of  matadors,  also  in  mask,  who  accent 
the  time  with  the  pikes  they  carry,  the  double  number  ending 
with  a  gay  bolero.  The  act  closes  with  a  long  duet  between 
Violetta  and  Alfred,  developing  in  the  finale,  by  the  entrance 
of  Germont,  into  a  very  strong  and  dramatic  trio. 

The  third  act  opens  in  Violetta's  chamber  with  a  reminis- 
cence of  the  introduction.  As  she  contemplates  her  changed 
appearance  in  the  mirror,  she  bids  a  sad  farewell  to  her  dreams 
of  happiness  in  the  aria  ("Addio!  del  passato  ")  in  harsh 
contrast  with  which  is  heard  a  bacchanalian  chorus  behind 
the  scenes  ("Largo  al  Quadrupede ").  In  the  next  scene 
occurs  the  passionate  duet  with  Alfred  ("  Parigi,  o  cara  "), 
which  is  a  close  copy  of  the  final  duet  in  "  Trovatore,"  be- 
tween Manrico  and  Azucena.  It  is  followed  by  the  aria 
("Ah!  gran  Dio")  for  Violetta,  which  leads  to  the  conclud- 
ing quintet  and  death  scene. 


II  Trovatore 

"  II  Trovatore,"  opera  in  four  acts,  words  by  Cammarano, 
was  first  produced  in  Rome,  January  19,  1853,  with  Mme. 
Penco,  Mme.  Goggi,  MM.  Baucarde,  Guicciardi,  and  Balderi 
in  the  cast.  In  1857  it  was  brought  out  in  Paris  as  "  Le 
Trouvere,"  with  Mario  as  the  Count,  Mme.  Frezzolini  as 
Leonora,  and  Mme.  Borghi-Mamo  as  Azucena,  and  in  London, 
1856,  in  English,  as  "  The  Gypsy's  Vengeance."  It  was  first 
produced  in  New  York  with  Signora  Steffanone,  Signorina 
Vestvali,  Signori  Brignoli,  and  Amodio  in  the  cast  May  2, 
1855.  It  was  produced  in  Rome  in  the  same  year  with  "La 
Traviata,"  but  unlike  the  latter,  it  was  greeted  at  once  with 
an  enthusiastic  welcome. 

The  opera  opens  with  a  midnight  scene  at  the  palace  of 


VERDI  317 

Aliaferia,  where  the  old  servitor,  Ferrando,  relates  to  his 
associates  the  story  of  the  fate  of  Garzia,  brother  of  the 
Count  di  Luna,  in  whose  service  they  are  employed.  While 
in  their  cradles,  Garzia  was  bewitched  by  an  old  gypsy,  and 
day  by  day  pined  away.  The  gypsy  was  burned  at  the  stake 
for  sorcery;  and  in  revenge  Azucena,  her  daughter,  stole  the 
sickly  child.  At  the  opening  of  the  opera  his  fate  has  not 
been  discovered.  As  the  servitor  closes  his  narrative  and  he 
and  his  companions  depart,  the  Count  di  Luna  enters  and 
lingers  by  the  apartment  of  the  Duchess  Leonora,  with  whom 
he  is  in  love.  Hearing  his  voice,  Leonora  comes  into  the 
garden,  supposing  it  is  Manrico,  the  troubadour,  whom  she 
had  crowned  victor  at  a  recent  tournament,  and  of  whom  she 
had  become  violently  enamoured.  As  she  greets  the  Count, 
Manrico  appears  upon  the  scene  and  charges  her  with  in- 
fidelity. Recognizing  her  error,  she  flies  to  Manrico  for 
protection.  The  Count  challenges  him  to  combat,  and  as  they 
prepare  to  fight  she  falls  to  the  ground  insensible. 

In  the  second  act  we  are  introduced  to  a  gypsy  camp, 
where  Azucena  relates  to  IManrico,  who  has  been  wounded 
in  the  duel  with  the  Count,  the  same  story  which  Ferrando 
had  told  his  friends,  with  the  addition  that  when  she  saw  her 
mother  burning  she  caught  up  the  Count's  child,  intending 
to  throw  it  into  the  flames,  but  by  a  mistake  sacrificed  her 
own  infant.  As  the  story  concludes,  a  messenger  arrives, 
summoning  Manrico  to  the  defence  of  the  castle  of  Castellar, 
and  at  the  same  time  informing  him  that  Leonora,  supposing 
him  dead,  has  gone  to  a  convent.  He  arrives  at  the  convent 
in  time  to  rescue  her  before  she  takes  her  vows,  and  bears 
her  to  Castellar,  which  is  at  once  besieged  by  the  Count's 
forces. 

The  third  act  opens  in  the  camp  of  the  Count,  where 
Azucena,  arrested  as  a  spy,  is  dragged  in.  She  calls  upon 
Manrico  for  help..  The  mention  of  his  rival's  name  only  adds 
fuel  to  the  Count's  wrath,  and  he  orders  the  gypsy  to  be 
burned  in  sight  of  the  castle.  Ferrando  has  already  recog- 
nized her  as  the  supposed  murderer  of  the  Count's  brother, 
and  her  filial  call  to  ^Manrico  also  reveals  to  him  that  she 


318  (THE    STANDARD    OPERAS 

is  his  mother.  He  makes  a  desperate  effort  to  rescue  her, 
but  is  defeated,  taken  prisoner,  and  thrown  into  a  dungeon 
with  Azucena.  Leonora  vainly  appeals  to  the  Count  to  spare 
Manrico,  and  at  last  offers  him  her  hand  if  he  will  save  his 
life.  He  consents,  and  Leonora  hastens  to  the  prison  to 
convey  the  tidings,  having  previously  taken  poison,  preferring 
to  die  rather  than  fulfil  her  hateful  compact.  JNIanrico  re- 
fuses his  liberty,  and  as  Leonora  falls  in  a  dying  condition 
the  Count  enters  and  orders  Manrico  to  be  put  to  death  at 
once.  He  is  dragged  away  to  execution,  but  as  the  Count 
triumphantly  forces  Azucena  to  a  window  and  shows  her  the 
tragic  scene,  she  reveals  her  secret,  and  informing  the  horror- 
stricken  Count  that  he  has  murdered  his  own  brother,  falls 
lifeless  to  the  ground. 

The  first  act  ojDens  with  a  ballad  in  mazurka  time  ("  Ab- 
bietta  Zingara  "),  in  which  Ferrando  relates  the  story  of  the 
gypsy,  leading  up  to  a  scena  for  Leonora,  which  is  treated  in 
Verdi's  favorite  style.  It  begins  with  an  andante  ("  Tacea 
la  Notte  placida  "),  a  brief  dialogue  with  her  attendant  Inez 
intervening,  and  then  develops  into  an  allegro  ("  Di  tale 
Amor  ")  which  is  a  brilliant  bit  of  bravura.  A  brief  snatch 
of  fascinating  melody  behind  the  scenes  ("  Deserto  sulla 
Terra  ")  introduces  Manrico,  and  the  act  closes  with  a  trio 
("  Di  geloso  Amor  sprezzato"). 

The  second  act  opens  with  the  Anvil  Chorus  in  the  camp 
of  the  gypsies  ("  La  Zingarella "),  the  measures  accented 
with  hammers  upon  the  anvils.  This  number  is  so  familiar 
that  it  does  not  need  further  reference.  As  its  strains  die 
away  in  the  distance,  Azucena  breaks  out  into  an  aria  of 
intense  energy,  with  very  expressive  accompaniment  ("  Stride 
la  Vampa  "),  in  which  she  tells  the  fearful  story  of  the  burn- 
ing of  her  mother.  A  dramatic  dialogue  with  Manrico  ensues, 
closing  with  a  spirited  aria  for  tenor  ("  Mai  reggendo ") 
and  duet  ("  Sino  all'  elsa  ").  The  scene  is  interrupted  by 
the  notes  of  a  horn  announcing  the  arrival  of  a  messenger. 
The  second  scene  is  introduced  by  a  broad  and  beautifully 
sustained  aria  for  the  Count  ("  II  balen  del  suo  "),  and,  like 
Leonora's  numbers  in  the  garden  scene,  again  develops  from 


Campanini  as  Maiirico 


VERDI  319 

a  slow  movement  to  a  rapid  and  spirited  march  tempo  ("  Per 
me  Ora  fatale  "),  the  act  closing  with  a  concerted  effect  of 
quartet  and  chorus. 

The  third  act  is  introduced  with  a  stirring  soldiers'  chorus. 
Azucena  is  dragged  in  and  sings  a  plaintive  lament  for  Man- 
rico  ("  Giorni  poveri  ").  Two  duets  follow,  between  Azucena 
and  the  Count,  and  Manrico  and  Leonora,  —  the  second  ac- 
companied by  the  organ  in  the  convent  chapel.  The  act 
closes  with  the  spirited  aria,  "  Di  quella  Pira,"  for  Manrico. 

The  last  act  opens  with  a  florid  aria  for  Leonora  ("  D' 
Amor  suir  ali  rose"),  leading  to  the  Miserere  ("Ah,  che  la 
Morte  ")  —  a  number  which  has  never  yet  failed  to  charm 
audiences.  As  the  Count  enters,  Leonora  has  another  power- 
ful aria  ("  Mira,  di  acerbe  "),  which  in  the  next  scene  is 
followed  by  the  familiar  duet  between  Azucena  and  Manrico 
("  Si  la  stanchezza  "),  upon  which  Verdi  lavished  his  musi- 
cal skill  with  charming  effect.  The  last  scene  closes  with 
the  tragedy. 


The  Mashed  Ball 

"  II  Ballo  in  Maschera,"  opera  in  three  acts,  text  by  M. 
Somma,  was  first  produced  in  Rome,  February  17,  1859, 
with  Fraschini  as  Ricardo  and  Mile.  Lagrua  as  Amelia.  In 
preparing  his  work  for  the  stage,  Verdi  encountered  numer- 
ous obstacles.  The  librettist  used  the  same  subject  which 
M.  Scribe  had  adapted  for  Auber's  opera  ("  Gustavus  III  "), 
and  the  opera  was  at  first  called  by  the  same  name,  —  "  Gus- 
tavo III."  It  was  intended  for  production  at  the  San  Carlo, 
Naples,  during  the  Carnival  of  1858;  but  while  the  rehearsals 
were  proceeding,  Orsini  made  his  memorable  attempt  to  kill 
Napoleon  III,  and  the  authorities  at  once  forbade  a  per- 
formance of  the  work,  as  it  contained  a  conspiracy  scene. 
The  composer  was  ordered  to  set  different  words  to  his  music, 
but  he  peremptorily  refused ;  whereupon  the  manager  brought 
suit  against  him,  claiming  forty  thousand  dollars'  damages. 
The   disappointment   nearly   incited   a   revolution   in   Naples. 


320  THE    STANDARD    OPERAS 

Crowds  gathered  in  the  streets  shouting,  "  Viva  Verdi/'  im- 
plying at  the  same  time,  by  the  use  of  the  letters  in  Verdi's 
name,  the  sentiment,  "  Viva  Vittorio  Emmanuele  Re  Di  Italia." 
A  way  out  of  his  difficulties,  however,  was  finally  suggested 
by  the  impresario  at  Rome,  who  arranged  with  the  censorship 
to  have  the  work  brought  out  at  the  Teatro  Apollo  as  "  Un 
Ballo  in  Maschera."  The  scene  was  changed  to  Boston, 
Massachusetts,  and  the  time  laid  in  the  colonial  period,  not- 
withstanding the  anachronism  that  masked  balls  were  un- 
known at  that  time  in  New  England  history.  The  Swedish 
King  appeared  as  Ricardo,  Count  of  Warwick  and  Governor 
of  Boston,  and  his  attendants  as  Royalists  and  Puritans, 
among  them  two  negroes,  Sam  and  Tom,  who  are  very  promi- 
nent among  the  conspirators.  In  this  form,  the  Romans  hav- 
ing no  objection  to  the  assassination  of  an  English  governor, 
the  opera  was  produced  with  great  success. 

The  first  act  opens  in  the  house  of  the  Governor,  where  a 
large  party,  among  them  a  group  of  conspirators,  is  assembled. 
During  the  meeting  a  petition  is  presented  for  the  banish- 
ment of  Ulrico,  a  negro  sorcerer.  Urged  by  curiosity,  the 
Governor,  disguised  as  a  sailor  and  accompanied  by  some  of 
his  friends,  pays  him  a  visit.  Meanwhile  another  visit  has 
been  planned.  Amelia,  the  wife  of  the  Governor's  secre- 
tary, meets  the  witch  at  night  in  quest  of  a  remedy  for 
her  passion  for  Ricardo,  who  of  course  has  also  been  fas- 
cinated by  her.  They  arrive  about  the  same  time,  and  he 
overhears  Ulrico  telling  her  to  go  to  a  lonely  spot,  where 
she  will  find  an  herb  potent  enough  to  cure  her  of  her  evil 
desires.  The  Governor  follows  her,  and  during  their  inter- 
view the  Secretary  hurriedly  rushes  upon  the  scene  to  notify 
him  that  conspirators  are  on  his  track.  He  throws  a  veil 
over  Amelia's  face  and  orders  Reinhart,  the  Secretary,  to 
conduct  her  to  a  place  of  safety  without  seeking  to  know 
who  she  is.  He  consents,  and  the  Governor  conceals  himself 
in  the  forest.  The  conspirators  meanwhile  meet  the  pair, 
and  in  the  confusion  Amelia  drops  her  veil,  thus  revealing 
herself  to  Reinhart.  Furious  at  the  Governor's  perfidy,  he 
joins    the   conspirators.      In   the   denouement   the    Secretary 


Emma  Eamcs  as  Amelia 

Copyright^  Ainie  Dupoit 


VERDI  321 

stabs  his  master  at  a  masquerade,  and  the  latter  while  dying 
attests  the  purity  of  Amelia,  and  magnanimously  gives  his 
secretary  a  commission  appointing  him  to  a  high  position  in 
England. 

After  a  brief  prelude,  the  first  act  opens  with  a  double 
chorus,  in  which  the  attitude  of  the  friends  of  the  Governor 
and  the  conspirators  against  him  is  strongly  contrasted.  In 
the  next  scene  Ricardo  and  his  page,  Oscar,  enter;  and  after 
a  short  dialogue  Ricardo  sings  a  very  graceful  romanza  ("  La 
rivedra  nell'  Estasi  "),  which  in  the  next  scene  is  followed 
by  a  spirited  aria  for  Reinhart  ("  Di  Speranze  e  glorie 
Piena").  In  the  fourth  scene  Oscar  has  a  very  pretty  song 
("  Volta  la  Terrea  "),  in  which  he  defends  Ulrico  against  the 
accusations  of  the  judge,  leading  up  to  an  effective  quintet 
and  chorus  which  has  a  flavor  of  the  opera  bouffe  style.  In 
grim  contrast  with  it  comes  the  witch  music  in  the  next  scene 
("  Re  del  abisso  "),  set  to  a  weird  accompaniment.  As  the 
various  parties  arrive,  a  somewhat  talky  trio  ensues  between 
Amelia,  Ulrico,  and  Ricardo,  followed  in  the  next  scene  by 
a  barcarole  ("  Di'  tu  se  fedele"),  svmg  by  Ricardo,  leading 
to  a  concerted  finale  full  of  sharp  dramatic  contrasts. 

The  second  act  opens  upon  a  moonlight  scene  on  the  spot 
where  murderers  are  punished;  and  Amelia,  searching  for 
the  magic  herb,  sings  a  long  dramatic  aria  ("  Ma  dall  Arido  ") 
consisting  of  abrupt  and  broken  measures,  the  orchestra  filling 
the  gaps  with  characteristic  accompaniment.  Ricardo  ap- 
pears upon  the  scene,  and  the  passionate  love-duet  follows 
("  M'  ami,  m'  ami  ").  The  interview  is  ended  by  the  sudden 
appearance  of  Reinhart,  who  warns  the  Governor  of  his 
danger,  the  scene  taking  the  form  of  a  spirited  trio  ("  Odi 
tu  come  ").  A  buffo  trio  closes  the  act,  Sam  and  Tom  supply- 
ing the  humorous  element  with  their  laughing  refrain. 

The  last  act  opens  in  Reinhart's  house  with  a  passionate 
scene  between  the  Secretary  and  his  wife,  containing  two 
strong  numbers,  a  minor  andante  ("  Morro,  ma  prima  in 
Grazia  ")  for  Amelia,  and  an  aria  for  Reinhart  ("  O  Dolcezzo 
Perdute  ").  The  conspiracy  music  then  begins,  and  leads  to 
the    ball    scene,    which    is    most   brilliantly    worked    up    with 


322  THE    STANDARD    OPERAS 

orchestra,  military  band,  and  stringed  quartet  behind  the 
scenes  supplying  the  dance  music,  and  the  accompaniment  to 
the  tragical  conspiracy,  in  the  midst  of  which,  like  a  bright 
sunbeam,  comes  the  page's  bewitching  song  ("  Saper  vor- 
reste").  The  opera  closes  with  the  death  of  Ricardo.  "The 
Masked  Ball  "  was  the  last  work  Verdi  wrote  for  the  Italian 
stage,  and  though  uneven  in  its  general  effect,  it  contains  some 
of  his  most  original  and  striking  numbers,  —  particularly 
those  allotted  to  the  page  and  Reinhart. 


A'ida 

"  Aida,"  opera  in  four  acts,  was  first  produced  for  the 
inauguration  of  the  new  opera  house  at  Cairo,  Egypt,  Decem- 
ber 24,  1871,  and  Avas  written  upon  a  commission  from  the 
Khedive  of  that  country.     The  cast  was  as  follows: 

A'ida      Signora  PozzoNi. 

Amneris Signora  Geossi. 

Rhadames Signor  Mongini. 

AmonasTO Signor  Costa. 

Ramfia Signor  Medini. 

King Signor  Stelleb. 

The  subject  of  the  opera  was  taken  from  a  sketch,  origi- 
nally written  in  prose,  by  the  director  of  the  Museum  at 
Boulak,  which  was  afterwards  rendered  into  French  verse 
by  M.  Camille  de  Locle,  and  translated  thence  into  Italian 
for  Verdi  by  Sig.  A.  Ghizlandoni.  It  is  notable  for  Verdi's 
departure  from  the  conventional  Italian  forms  and  the  par- 
tial surrender  he  made  to  the  constantly  increasing  influence 
of  the  so-called  "music  of  the  future."  The  subject  is  en- 
tirely Egyptian,  and  the  music  is  full  of  Oriental  color. 

The  action  of  the  opera  passes  in  Memphis  and  Thebes, 
and  the  period  is  in  the  time  of  the  Pharaohs.  Aida,  the 
heroine,  is  a  slave,  daughter  of  Araonasro,  the  King  of 
Ethiopia,  and  at  the  opening  of  the  opera  is  in  captivity 
among  the  Egyptians.     A  secret  attachment  exists  between 


Gadski  as  Aida 


VERDI  323 

herself  and  Rhadames,  a  young  Egyptian  warrior,  who  is 
also  loved  by  Amneris,  daughter  of  the  sovereign  of  Egypt. 
The  latter  suspects  that  she  has  a  rival,  but  does  not  dis- 
cover her  until  Rhadames  returns  victorious  from  an  expe- 
dition against  the  rebellious  Amonasro,  who  is  brought  back 
a  prisoner.  The  second  act  opens  with  a  scene  between  Am- 
neris  and  Aida,  in  which  the  Princess  wrests  the  secret  from 
the  slave  by  pretending  that  Rhadames  has  been  killed;  and 
the  truth  is  still  further  revealed  when  Rhadames  pleads  with 
the  King  to  spare  the  lives  of  the  captives.  The  latter  agrees 
to  release  all  but  Aida  and  Amonasro,  bestows  the  hand  of 
Amneris  upon  the  unwilling  conqueror,  and  the  act  closes 
amid  general  jubilation.  Acting  upon  Amonasro's  admoni- 
tions, Aida  influences  Rhadames  to  fly  from  Egypt  and 
espouse  the  cause  of  her  father.  The  lovers  are  overheard  by 
Amneris  and  Ramfis,  the  high  priest.  The  Princess,  with  all 
the  fury  of  a  woman  scorned,  denounces  Rhadames  as  a 
traitor.  He  is  tried  for  treason  and  condemned  to  be  buried 
alive  in  the  vaults  under  the  temple  of  the  god  Phtah.  Par- 
don is  offered  him  if  he  will  accept  the  hand  of  Amneris,  but 
he  refuses  and  descends  to  the  tomb,  where  he  finds  Aida 
awaiting  him.  The  stones  are  sealed  above  them  and  the 
lovers  are  united  in  death,  while  Amneris,  heart-broken  over 
the  tragedy  her  jealousy  has  caused,  kneels  in  prayer  before 
their  sepulchre. 

After  a  short  prelude,  consisting  of  a  beautiful  pianissimo 
movement,  mainly  for  the  violins,  and  very  Wagnerian  in  its 
general  style,  the  first  act  opens  in  the  hall  of  the  King's 
palace  at  Memphis.  A  short  dialogue  between  Rhadames 
and  the  priest  Ramfis  leads  to  a  delicious  romanza  ("  Celeste 
Aida  ")  which  is  entirely  fresh  and  original,  recalling  nothing 
that  appears  in  any  of  Verdi's  previous  works.  It  is  followed 
by  a  strong  declamatory  duet  between  Rhadames  and  Am- 
neris, which  upon  the  appearance  of  Aida  develops  into  a 
trio  ("Vieru,  o  Diletta  ").  In  the  next  scene  the  King  and 
his  retinue  of  ministers,  priests,  and  warriors  enter,  and  a 
majestic  ensemble  occurs,  beginning  with  a  martial  chorus 
("Su!    del  Nilo  ")  in  response  to  the  appeal  of  the  priests. 


324  THE    STANDARD    OPERAS 

As  the  war  chorus  dies  away  and  the  retinue  disappears, 
Aida  has  a  scena  of  great  power.  It  begins  with  a  lament 
for  her  country  ("  Ritorna  Vincitor  "),  in  passionate  declama- 
tory phrases,  clearly  showing  the  influence  of  Wagner;  but 
in  its  smooth,  flowing  cantabile  in  the  finale  ("  Numi,  pieta  "), 
Verdi  returns  to  the  Italian  style  again.  The  final  scene  is 
full  of  Oriental  color  and  barbaric  richness  of  display.  The 
consecrated  arms  are  delivered  to  Rhadames.  The  priestesses 
behind  the  scene  to  the  accompaniment  of  harps,  and  the 
priests  in  front  with  sonorous  chant,  invoke  the  aid  of  the 
god  Phtah,  while  other  priestesses  execute  the  sacred  dance. 
An  impressive  duet  between  Ramfis  and  Rhadames  closes  the 
act.  In  this  finale,  Verdi  has  utilized  two  native  Egyptian 
themes,  —  the  melody  sung  by  the  priestesses  with  the  harps, 
and  the  dance-melody  given  out  by  the  flutes. 

The  second  act  opens  with  a  female  chorus  by  the  slave 
girls,  the  rhythm  of  which  is  in  keeping  with  the  Oriental 
scene,  followed  by  an  impassioned  duet  between  Amneris  and 
Aida  ("Alia  Pompa  che  si  appresta  "),  through  which  are 
heard  the  martial  strains  of  the  returning  conqueror.  The 
second  scene  opens  the  way  for  another  ensemble,  with  mas- 
sive choruses,  a  stirring  march  and  ballet,  heralding  the  vic- 
tory of  Rhadames.  A  solemn,  plaintive  strain  runs  through 
the  general  jubilation  in  the  appeal  of  Amonasro  ("  Questa 
assisa  ch'  io  vesto  ")  to  the  King  for  mercy  to  the  captives. 
The  finale  begins  with  the  remonstrances  of  the  priests  and 
people  against  the  appeals  of  Amonasro  and  Rhadames,  and 
closes  with  a  dramatic  concerted  number,  —  a  quintet  set 
off  against  the  successive  choruses  of  the  priests,  prisoners, 
and  people    ("  Gloria  all'   Egitto  "). 

The  third  act,  like  the  first,  after  a  brief  dialogue,  opens 
with  a  lovely  romanza  ("  O  Cieli  azzurri"),  sung  by  Aida, 
and  the  remainder  of  the  act  is  devoted  to  two  duets,  —  the 
first  between  Amonasro  and  Aida,  and  the  second  between 
Rhadames  and  Aida.  They  are  revelations  in  the  direction 
of  combining  the  poetic  and  musical  elements,  when  compared 
with  any  of  the  duets  in  Verdi's  previous  operas.  In  the  last 
act  the  first  scene  contains  another  impressive  duet  between 


..-yp-.,^ — 


Marie  Brema  as  A?/iiierts 


VERDI  325 

Rhadaraes  and  Amneris  ("  Chi  ti  salva,  o  Sciagurato  "),  end- 
ing with  the  desjDairing  song  of  Amneris  ("Ohime!  morir 
mi  sento  ").  In  the  last  scene  the  stage  is  divided  into  two 
parts.  The  upper  represents  the  temple  of  Vulcan,  or  Phtah, 
crowded  with  priests  and  priestesses,  chanting  as  the  stone  is 
closed  over  the  subterranean  entrance,  while  below,  in  the 
tomb,  Aida  and  Rhadames  sing  their  dying  duet  ("  O  Terra, 
addio  "),  its  strains  blending  with  the  jubilation  of  the  priests 
and  the  measures  of  the  priestesses'  sacred  dance.  "  Aida  " 
is  unquestionably  the  greatest,  if  not  the  most  popular,  of 
Verdi's  works.  It  marks  a  long  step  from  the  style  of  his 
other  operas  towards  the  production  of  dramatic  effect  by 
legitimate  musical  means,  and  shows  the  strong  influence 
Wagner  had  upon  him. 


Othello 

"  Othello,"  opera  in  four  acts,  text  by  Boito,  after  the 
Shakesperean  tragedy,  first  produced  at  La  Scala  Theatre, 
Milan,  February  5,  1887,  with  the  following  cast: 

OtheUo Sig.  Tamagno. 

lago Sig.  Maxtrel. 

Cassio Sig.  Paroli. 

Roderigo Sig.  Fornari. 

Ludodco Sig.  Navarrini. 

Desdemona Signora  Pantaleoni. 

The  curtain  rises  upon  a  scene  in  Cyprus.  A  storm  is 
raging,  and  a  crowd,  among  them  lago,  Cassio,  and  Roderigo, 
watch  the  angry  sea,  speculating  upon  the  fate  of  Othello's 
vessel,  which  finally  arrives  safely  in  port  amid  much  rejoic- 
ing. After  returning  the  welcomes  of  his  friends  he  enters 
the  castle  with  Cassio  and  Montano.  The  conspiracy  at  once 
begins  by  the  disclosure  by  lago  to  Roderigo  of  the  means  by 
which  Cassio's  ruin  may  be  compassed.  Then  follows  the 
quarrel,  which  is  interrupted  by  the  appearance  of  Othello, 
who  deprives  Cassio  of  his  office.     A  love  scene  ensues  be- 


326  THE    STANDARD    OPERAS 

tween  Desdemona  and  the  Moor ;  but  in  the  next  act  the 
malignity  of  lago  has  already  begun  to  take  effect,  and  the 
seeds  of  jealousy  are  sown  in  Othello's  breast.  His  suspicions 
are  freshly  aroused  when  Desdemona  intercedes  in  Cassio's 
behalf,  and  are  changed  to  conviction  by  the  handkerchief 
episode  and  lago's  artful  insinuation  that  Cassio  mutters  the 
name  of  Desdemona  in  his  sleep ;  at  which  the  enraged  Moor 
clutches  him  by  the  throat  and  hurls  him  to  the  ground.  In 
the  third  act  lago  continues  his  diabolical  purpose,  at  last 
so  inflaming  Othello's  mind  that  he  denounces  Desdemona 
for  her  perfidy.  The  act  concludes  with  the  audience  to  the 
Venetian  embassy,  during  which  he  becomes  enraged,  strikes 
Desdemona,  and  falls  in  convulsions.  The  last  act  transpires 
in  her  chamber,  and  follows  Shakespeare  in  all  the  details  of 
the  smothering  of  Desdemona  and  the  death  of  Othello. 

There  is  no  overture  proper  to  the  opera.  After  a  few 
vigorous  bars  of  prelude,  the  scene  opens  with  a  tempestuous 
and  striking  description  of  a  sea-storm  by  the  orchestra,  with 
the  choruses  of  sailors  and  Cypriots  rising  above  it  and  ex- 
pressing alternate  hope  and  terror.  After  a  short  recitative 
the  storm  dies  away,  and  the  choral  phrases  of  rejoicing  end 
in  a  pianissimo  effect.  A  hurried  recitative  passage  between 
lago  and  Roderigo  introduces  a  drinking  scene  in  which  lago 
sings  an  expressive  brindisi  with  rollicking  responses  by  the 
chorus  ("  InafBa  I'ugola-trinca  tra  canna").  The  quarrel 
follows,  with  a  vigorous  and  agitated  accompaniment,  and  the 
act  comes  to  a  close  with  a  beautiful  love-duet  between  Othello 
and  Desdemona  ("  Gia  nella  Notte  deusa"). 

The  second  act  opens  with  recitative  which  reveals  all  of 
lago's  malignity,  and  is  followed  by  his  monologue,  in  which 
he  sings  a  mock  Credo  ("  Credo  in  un  Dio  crudel  ")  which 
is  Satanic  in  utterance.  It  is  accompanied  with  tremendous 
outbursts  of  trumpets,  and  leads  up  to  a  furious  declamatory 
duet  with  Othello  ("  Miseria  mia  ").  The  next  number  brings 
a  grateful  change.  It  is  a  graceful  mandolinata  ("  Dove 
guardi  splendono  ")  sung  by  children's  voices  and  accompanied 
by  mandolins  and  guitars,  followed  by  a  charming  chorus  of 
mariners,  who  bring  shells  and  corals  to  Desdemona.     The 


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Copyright^  Falk 


VERDI  327 

intercession  episode  ensues,  leading  to  a  grand  dramatic  quartet 
for  Dcsdemona,  Emilia,  lago,  and  Othello.  The  latter  then 
sings  a  pathetic  but  stirring  melody  with  trumpet  accompani- 
ment, the  farewell  to  war  ("  Addio  sublimi  incanti  "),  and  the 
act  closes  with  a  tumultuous  duet  between  himself  and  lago. 

The  third  act  opens  with  an  expressive  duet  for  Othello 
and  Desdemona  ("  Dio  ti  giocondi  "),  in  which  the  growing 
wrath  of  the  former  and  the  sweet  and  touching  unconscious- 
ness of  the  other  are  happily  contrasted.  A  sad  monologue 
by  Othello  ("Dio!  mi  potevi  scagliar")  prepares  the  way 
for  the  coming  outbreak.  The  handkerchief  trio  follows,  in 
which  the  malignity  of  lago,  the  indignation  of  Othello,  and 
the  inability  of  Cassio  to  understand  the  fell  purpose  of  lago 
are  brought  out  with  great  force.  At  its  close  a  fanfare  of 
trumpets  announces  the  Venetian  embassy,  and  the  finale  be- 
gins with  much  brilliancy.  Then  follows  the  scene  in  which 
Othello  smites  down  Desdemona.  She  supplicates  for  mercy 
in  an  aria  of  tender  beauty  ("A  terra !  si,  nel  livido  "),  which 
leads  up  to  a  strong  sextet.  All  the  guests  depart  but  lago; 
and  as  Othello,  overcome  with  his  emotions,  swoons  away,  the 
curtain  falls  upon  lago's  contemptuous  utterance,  "  There  lies 
the  lion  of  Venice." 

The  fourth  act  is  full  of  musical  beauty.  After  an  or- 
chestral introduction  in  which  the  horn  has  a  very  effective 
solo,  the  curtain  rises  and  the  action  transpires  in  Desde- 
mona's  chamber.  The  scene  opens  with  a  touching  recitative 
between  Desdemona  and  Emilia.  While  the  former  prepares 
herself  for  slumber  she  sings  the  "  Willow  Song  "  ("  Piangea 
cantando"),  an  unaffected  melody  as  simple  and  character- 
istic as  a  folk-song.  Emilia  retires,  and  by  a  natural  transi- 
tion Desdemona  sings  an  "  Ave  Maria  "  ("  Ave  Maria  plena 
de'  grazia  "),  which  is  as  simple  and  beautiful  in  its  way  as 
the  "  Willow  Song."  She  retires  to  her  couch,  and  in  the 
silence  Othello  steals  in,  dagger  in  hand,  the  contra-basses 
giving  out  a  sombre  and  deep-toned  accompaniment  which  is 
startling  in  its  effect.  He  kisses  her,  the  motive  from  the 
love-duet  appearing  in  the  orchestra ;  then,  after  a  hurried 
dialogue,  stifles  her.     He  then  kills  himself,  his  last  words 


328  THE    STANDARD    OPERAS 

being   a   repetition   of  those   in   the  duet^   while   the   strings 
tenderly  give  out  the  melody  again. 


Falstaff 


(< 


Falstaff/'  opera  in  three  acts,  text  by  Arrigo  Boito,  was 
first  performed  March  12,  1893,  at  the  Teatro  alia  Scala, 
Milan,  with  the  following  cast  of  characters : 

Mistress  Ford Signora  Zilu. 

Nannetta Madame  Stehle. 

Fenton M.  Gahbin. 

Dr.  Cams Sig.  Paroli. 

Pistola Sig.  Arimondi. 

Mistress  Page Signora  Guerrint. 

Mistress  Quickly Signora  Pasqua. 

Ford Sig.  Pini-Corsi. 

Bardolfo Sig.  Pelagalli-Rossetti. 

Falstaff M.  Maxjbel. 

The  libretto,  though  mainly  based  upon  "  The  Merry  Wives 
of  Windsor,"  also  levies  some  contributions  upon  "  Henry  IV," 
particularly  in  the  introduction  of  the  monologue  upon  honor, 
and  illustrates  Boito's  skill  in  adaptation  as  well  as  his  re- 
markable powers  in  condensation.  In  the  arrangement  of  the 
comedy  the  five  acts  are  reduced  to  three.  The  characters 
Shallow,  Slender,  William,  Page,  Sir  Hugh  Evans,  Simple, 
and  Rugby  are  eliminated,  leaving  Falstaff,  Fenton,  Ford, 
Dr.  Caius,  Bardolph,  Pistol,  Mistress  Ford,  Mistress  Page, 
Anne,  Dame  Quickly,  and  three  minor  characters  as  the 
dramatis  personce,  though  Anne  appears  as  Nannetta  and  is 
the  daughter  of  Ford  instead  of  Page. 

The  first  act  opens  with  a  scene  at  the  Garter  Inn,  dis- 
closing an  interview  between  Falstaff  and  Dr.  Caius,  who 
is  complaining  of  the  ill  treatment  he  has  received  from  the 
fat  Knight  and  his  followers,  but  without  obtaining  any  satis- 
faction. After  his  departure,  Falstaff  seeks  to  induce  Bar- 
dolph and  Pistol  to  carry  his  love  letters  to  Mistresses  Ford 
and  Page;  but  they  refuse,  upon  the  ground  that  their  honor 
would  be  assailed,  which  gives  occasion  for  the  introduction 


VERDI  329 

of  the  monologue  from  "  Henry  IV,"  The  letters  are  finally 
intrusted  to  a  page,  and  the  remainder  of  the  act  is  devoted 
to  the  plots  of  the  women  to  circumvent  him,  with  an  inci- 
dental revelation  of  the  loves  of  Fenton  and  Nannetta,  or 
Anne  Page.  In  the  second  act,  we  have  Falstaff's  visit  to 
Mistress  Ford,  as  planned  by  the  merry  wives,  the  comical 
episode  of  his  concealment  in  the  buck-basket,  and  his  dump- 
ing into  the  Thames.  In  the  last  act,  undaunted  by  his 
watery  experiences,  Falstaff  accepts  a  fresh  invitation  to  meet 
Mistress  Ford  in  Windsor  Park.  In  this  episode  occurs  the 
fairy  masquerade  at  Heme's  Oak,  in  the  midst  of  which  he  is 
set  upon  and  beaten,  ending  in  his  complete  discomfiture. 
Then  all  is  explained  to  him ;  Nannetta  is  betrothed  to 
Fenton;    and  all  ends,  merry  as  a  marriage  bell. 

There  is  no  overture.  After  four  bars  of  prelude  the 
curtain  rises,  and  the  composer  introduces  Dr.  Caius  with 
the  single  exclamation,  "  Falstaff,"  and  the  latter's  replj'^, 
"  Ho !  there,"  which  are  emblematic  of  the  declamatory  char- 
acter of  the  whole  opera;  for  although  many  delightful  bits 
of  melody  are  scattered  through  it,  the  instrumentation  really 
tells  the  story,  as  in  the  Wagner  music-drama,  though  in  this 
latest  work  of  the  veteran  composer  there  is  less  of  the 
Wagnerian  idea  than  in  his  "  Aida."  The  first  scene  is  mainly 
humorous  dialogue,  but  there  are  two  notable  exceptions,  — 
the  genuine  lyrical  music  of  Falstaff's  song  ("  'T  is  she  with 
Eyes  like  Stars  "),  and  the  Honor  monologue,  a  superb  piece 
of  recitative  with  a  characteristic  accompaniment  in  which  the 
clarinets  and  bassoons  fairly  talk,  as  they  give  the  negative 
to  the  Knight's  sarcastic  questions.  The  most  attractive  num- 
bers of  the  second  scene  are  Mistress  Ford's  reading  of 
Falstaff's  letter,  which  is  exquisitely  lyrical,  a  quartet,  a 
capella,  for  the  four  women  ("  He  '11  surely  come  courting  "), 
followed  by  a  contrasting  male  quartet  ("  He 's  a  foul,  a 
ribald  Thief  "),  the  act  closing  with  the  two  quartets  off- 
setting each  other,  and  enclosing  an  admirable  solo  for 
Fenton. 

The  second  act  opens  with  the  interview  between  Dame 
Quickly  and  Falstaff,  in  which  the  instrumentation  runs  the 


330  THE    STANDARD    OPERAS 

whole  gamut  of  ironical  humor.  Then  follows  the  scene  be- 
tween Ford  and  Falstaff^  in  which  the  very  clink  of  the  money, 
and  Falstaff's  huge  chuckles,  are  deliberately  set  forth  in  the 
orchestra  with  a  realism  which  is  the  very  height  of  the  ridicu- 
lous, the  scene  closing  with  an  expressive  declamation  by 
Ford  ("  Do  I  dream?  Or,  is  it  reality?  ").  The  second  scene 
of  the  act  is  mainly  devoted  to  the  ludicrous  incident  of  the 
buck-basket,  which  is  accompanied  by  most  remarkable  in- 
strumentation ;  but  there  are  one  or  more  captivating  episodes ; 
such  as  Dame  Quickly 's  description  of  her  visit  ("  'T  was  at 
the  Garter  Inn  ")  and  Falstaff's  charming  song  ("  Once  I 
was  Page  to  the  Duke  of  Norfolk  "). 

The  third  act  opens  in  the  Inn  of  the  Garter,  and  dis- 
closes Falstaff  soliloquizing  upon  his  late  disagreeable  ex- 
periences : 

"Ho!  landlord! 
Ungrateful  world,  wicked  world. 
Guilty  world! 

Landlord!  a  glass  of  hot  sherry. 
Go,  go  thy  way,  John  Falstaff, 
With  thee  will  cease  the  type 
Of  honesty,  virtue,  and  might." 

As  the  fat  Knight  soliloquizes  and  drinks  his  sack  the 
orchestra  joins  in  a  trill  given  out  by  piccolo,  and  gradually 
taken  by  one  instrument  after  the  other,  until  the  whole  or- 
chestra is  in  a  hearty  laugh  and  shaking  with  string,  brass, 
and  wood-wind  glee.  Then  enters  Dame  Quickly,  mischief- 
maker,  who  sets  the  trap  at  Heme's  Oak  in  Windsor  Forest, 
into  which  Falstaff  readily  falls.  The  closing  scene  is  rich 
with  humor.  It  opens  with  a  delightful  love  song  by  Fenton 
("  From  those  sweet  Lips  a  Song  of  Love  arises  ").  The 
conspirators  enter  one  after  the  other,  and  at  last  Falstaff, 
disguised  as  the  sable  hunter.  The  elves  are  summoned,  and 
glide  about  to  the  delicious  fairy  music  accompanying  Nan- 
netta's  beautiful  song  ("  While  we  dance  in  the  Moonlight "). 
From  this  point  the  action  hastens  to  the  happy  denouement, 
and  the  work  concludes  with  a  fugue  which  is  imbued  with 
the    very   spirit   of   humor   and   yet   is    strictly   constructed. 


VERDI  331 

While  the  vocal  parts  are  extraordinary  in  their  declamatory 
significance,  the  strength  of  the  opera  lies  in  the  instrumen- 
tation, and  its  charm  in  the  delicious  fun  and  merriment  which 
pervade  it  all  and  are  aptly  expressed  in  the  closing  lines : 

"All  in  this  world  is  jesting. 
Man  is  bom  to  be  jolly. 
E'en  from  grief  some  happiness  wresting 
Sure  proof  against  melancholy." 


WAGNER    (RICHARD) 

Rienzi 

"  Try  lENZI,  der  letzte  der  Tribunen/'  tragic  opera  in  five 
XV  acts,  text  by  the  composer,  the  subject  taken  from 
Bulwer's  novel,  "  The  Last  of  the  Tribunes,"  was  first  pro- 
duced at  Dresden,  October  20,  1842,  with  the  following  cast 
of  leading  joarts: 

Rienzi Herr  Tichatschek. 

Irene Frl.  Wust. 

Colonna Herr  Detmer. 

Adriano Mme.  Schrodee-Devrient. 

Orsini Herr  Wachter. 

The  opera  was  first  produced  in  the  United  States  Feb- 
ruary 5,  1886.  "  Rienzi  "  was  designed  and  partly  completed 
during  Wagner's  stay  in  Riga  as  orchestra  leader.  In  his 
Autobiography  the  composer  says  that  he  first  read  the  story 
at  Dresden  in  1837,  and  was  greatly  impressed  with  its 
adaptability  for  opera.  He  began  it  in  the  Fall  of  the  same 
year  at  Riga,  and  says :  "  I  had  composed  two  numbers  of 
it,  when  I  found,  to  my  annoyance,  that  I  was  again  fairly 
on  the  way  to  the  composition  of  music  a  la  Adam.  I  pui 
the  work  aside  in  disgust."  Later  he  projected  the  scheme 
of  a  great  tragic  opera  in  five  acts,  and  began  working  upon 
it  with  fresh  enthusiasm  in  the  Fall  of  1838.  By  the  Spring 
of  1839  the  first  two  acts  were  completed.  At  that  time  his 
engagement  at  Riga  terminated,  and  he  set  out  for  Paris. 
He  soon  found  that  it  would  be  hopeless  for  him  to  bring 
out  the  opera  in  that  city,  notwithstanding  Meyerbeer  had 


WAGNER  333 

promised  to  assist  him.  He  offered  it  to  the  Grand  Opera 
and  to  the  Renaissance,  but  neither  would  accept  it.  Nothing 
daunted,  he  resumed  work  upon  it,  intending  it  for  Dresden. 
In  October,  1842,  it  was  at  last  produced  in  that  city,  and 
met  with  such  success  that  it  secured  him  the  position  of 
capellmeister  at  the  Dresden  opera  house. 

The  action  of  the  opera  passes  at  Rome,  towards  the  middle 
of  the  fourteenth  century.  The  first  act  opens  at  night,  in 
a  street  near  the  Church  of  St.  John  Lateran,  and  discovers 
Orsini,  a  Roman  patrician,  accompanied  by  a  crowd  of  nobles, 
attempting  to  abduct  Irene,  the  sister  of  Rienzi,  a  papal 
notary.  The  plot  is  interrupted  by  the  entrance  of  Colonna, 
the  patrician  leader  of  another  faction,  who  demands  the 
girl.  A  quarrel  ensues.  Adriano,  the  son  of  Colonna,  who 
is  in  love  with  Irene,  suddenly  appears  and  rushes  to  her 
defence.  Gradually  other  patricians  and  plebeians  are  at- 
tracted by  the  tumult,  among  the  latter,  Rienzi.  When  he 
becomes  aware  of  the  insult  offered  his  sister,  he  takes  coun- 
sel with  the  Cardinal  Raimondo,  and  they  agree  to  rouse  the 
people  in  resistance  to  the  outrages  of  the  nobles.  Adriano 
is  placed  in  an  embarrassing  position,  —  his  relationship  to 
the  Colonnas  urging  him  to  join  the  nobles,  while  his  love 
for  Irene  impels  him  with  still  stronger  force  to  make  com- 
mon cause  with  the  people.  He  finally  decides  to  follow 
Rienzi,  just  as  the  trumpets  are  heard  calling  the  people  to 
arms  and  Rienzi  clad  in  full  armor  makes  his  appearance  to 
lead  them. 

The  struggle  is  a  short  one.  The  nobles  are  overcome, 
and  in  the  second  act  they  appear  at  the  Capitol  to  acknowl- 
edge their  submission  to  Rienzi;  but  Adriano,  who  has  been 
among  them,  warns  Rienzi  that  they  have  plotted  to  kill  him. 
Festal  dances,  processions,  and  gladiatorial  combats  follow, 
in  the  midst  of  which  Orsini  rushes  at  Rienzi  and  strikes  at 
him  with  his  dagger.  Rienzi  is  saved  by  a  steel  breastplate 
under  his  robes.  The  nobles  are  at  once  seized  and  con- 
demned to  death.  Adriano  pleads  with  Rienzi  to  spare  his 
father,  and  moved  by  his  eloquence  he  renews  the  offer  of 
pardon  if  they  will  swear  submission.      They  take  the  oath 


334  THE    STANDARD    OPERAS 

only  to  violate  it.  The  people  rise  and  demand  their  exter- 
mination. Rienzi  once  more  draws  the  sword,  and  Adriano 
in  vain  appeals  to  him  to  avert  the  slaughter.  He  is  again 
successful,  and  on  his  return  announces  to  Adriano  that  the 
Colonnas  and  Orsinis  are  no  more.  The  latter  warns  him  of 
coming  revenge,  and  the  act  closes  with  the  coronation  of 
Rienzi. 

The  fourth  act  opens  at  night  near  the  church.  The  popu- 
lar tide  has  now  turned  against  Rienzi,  because  of  a  report 
that  he  is  in  league  with  the  German  Emperor  to  restore  the 
pontiff.  A  festive  cortege  approaches,  escorting  him  to  the 
church.  The  nobles  bar  his  way,  but  disperse  at  his  com- 
mand; whereupon  Adriano  rushes  at  him  with  drawn  dagger, 
but  the  blow  is  averted  as  he  hears  the  chant  of  malediction 
in  the  church,  and  sees  its  dignitaries  placing  the  ban  of 
excommunication  against  Rienzi  upon  its  doors.  He  hurries 
to  Irene,  warns  her  that  her  brother's  life  is  no  longer  safe, 
and  urges  her  to  fly  with  him.  She  repulses  him,  and  seeks 
her  brother,  to  share  his  dangers  or  die  with  him.  She  finds 
him  at  prayer  in  the  Capitol.  He  advises  her  to  accept  the 
offer  of  Adriano  and  save  herself,  but  she  repeats  her  de- 
termination to  die  with  him.  The  tumult  of  the  approaching 
crowd  is  heard  outside.  Rienzi  makes  a  last  appeal  to  them 
from  the  balcony,  but  the  infuriated  people  will  not  listen. 
They  set  fire  to  the  Capitol  with  their  torches,  and  stone 
Rienzi  and  Irene  through  the  windows.  As  the  flames  spread 
from  room  to  room  and  Adriano  beholds  them  enveloping  the 
devoted  pair,  he  throws  away  his  sword,  rushes  into  the  burn- 
ing building,  and  perishes  with  them. 

The  overture  of  "  Rienzi  "  is  in  the  accepted  form,  for  the 
opera  was  written  before  Wagner  had  made  his  new  departure 
in  music,  and  takes  its  principal  themes,  notably  Rienzi's 
prayer  for  the  people  and  the  finale  to  the  first  act,  from  the 
body  of  the  work.  The  general  style  of  the  whole  work  is 
vigorous  and  tumultuous.  The  first  act  opens  with  a  hurly- 
burly  of  tumult  between  the  contending  factions  and  the 
people.  The  first  scene  contains  a  vigorous  aria  for  the  hero 
("  Wohl  an  so  mog  es  sein  "),  which  leads  up  to  a  fiery  ter- 


WAGNER  335 

zetto  ("  Adriano  du?  Wie  ein  Colonna!")  between  Rienzi, 
Irene,  and  Adriano,  followed  by  an  intensely  passionate 
scene  ("  Er  geht  und  lasst  dicht  meinem  Schutz  ")  between 
the  last  two.  The  finale  is  a  tumultuous  mass  of  sound, 
through  which  are  heard  the  tones  of  trumpets  and  cries  of 
the  people.  It  opens  with  a  massive  double  chorus  ("  Ge- 
griisst,  gegriisst "),  shouted  by  the  people  on  the  one  side 
and  the  monks  in  the  Lateran  on  the  other,  accompanied  by 
an  andante  movement  on  the  organ.  It  is  interrupted  for  a 
brief  space  by  the  ringing  appeal  of  Rienzi  ("  Erstehe, 
hohe  Roma,  neu "),  and  then  closes  with  an  energetic 
andante,  a  quartet  joining  the  choruses.  This  finale  is 
clearly  Italian  in  form,  and  much  to  Wagner's  subsequent 
disgust  was  described  by  Hanslick  as  a  mixture  of  Doni- 
zetti and  Meyerbeer,  and  a  clear  presage  of  the  coming 
Verdi. 

The  second  act  opens  with  a  stately  march,  introducing  the 
messengers  of  peace,  who  join  in  a  chorus  of  greeting,  fol- 
lowed by  a  second  chorus  of  senators  and  the  tender  of  sub- 
mission made  by  the  nobles.  A  terzetto  between  Adriano, 
Orsini,  and  Colonna,  set  off  against  a  chorus  of  the  nobles, 
leads  up  to  the  finale.  It  opens  with  a  joyful  chorus 
("  Erschallet  feier  Klange  "),  followed  by  rapid  dialogue  be- 
tween Orsini  and  Colonna  on  the  one  hand  and  Adriano  and 
Rienzi  on  the  other.  A  long  and  elaborate  ballet  intervenes, 
divided  into  several  numbers,  —  an  Introduction,  Pyrrhic 
Dance,  Combat  of  Roman  Gladiators  and  Cavaliers,  and  the 
Dance  of  the  Apotheosis,  in  which  the  Goddess  of  Peace  is 
transformed  into  the  Goddess  Protector  of  Rome.  The  scene 
abruptly  changes,  and  the  act  closes  with  a  great  ensemble 
in  which  the  defiance  of  the  conspirators,  the  tolling  of 
bells,  the  chants  of  the  monks,  and  the  ferocious  outcries 
of  the  people  shouting  for  revenge  are  mingled  in  strong 
contrasts. 

The  third  act  is  full  of  tumult.  After  a  brief  prelude, 
amid  the  ringing  of  bells  and  cries  of  alarm,  the  people 
gather  and  denounce  the  treachery  of  the  nobles,  leading  up 
to  a  spirited  call  to  arms  by  Rienzi   ("  Ihr  Romer,  auf "). 


336  THE    STANDARD    OPERAS 

The  people  respond  in  furious  chorus,  and  as  the  sound  of 
the  bells  and  battle-cries  dies  away  Adriano  enters.  His  scene 
opens  with  a  prayer  ("  Gerechter  Gott  ")  for  the  aversion 
of  carnage,  which  changes  to  an  agitated  allegro  ("  Wo  war 
ich?")  as  he  hears  the  great  bell  of  the  Capitol  tolling  the 
signal  for  slaughter.  The  finale  begins  with  a  massive  march, 
as  the  bells  and  sounds  of  alarm  are  heard  approaching 
again,  and  bands  of  citizens,  priests  and  monks,  the  high 
clergy,  senators  and  nobles,  pass  and  repass  in  quick  succes- 
sion, followed  at  last  by  Rienzi,  which  is  the  signal  for  the 
great  battle  hymn,  which  is  "  to  be  sung  with  great  fire  and 
energy,  accompanied  by  great  and  small  bells  ringing  behind 
the  scenes,  the  clash  of  swords  upon  shields,  and  full  power 
of  chorus  and  orchestra."  A  dialogue  follows  between  Adriano 
and  Rienzi,  and  then  the  various  bands  disappear  singing  the 
ritornelle  of  the  hymn.  A  great  duet  ("  Lebwohl,  Irene  ") 
ensues  between  Adriano  and  Irene,  which  in  its  general  out- 
lines reminds  one  of  the  duet  between  Raoul  and  Valentin 
in  "  The  Huguenots."  At  its  conclusion,  after  a  prayer  by 
the  chorus  of  women,  the  battle  hymn  is  heard  again  in  the 
distance,  gradually  approaching,  and  the  act  closes  with  a 
jubilee  chorus  ("Auf!  im  Triumpf  zum  Capitol"),  welcom- 
ing the  return  of  the  conquerors. 

The  fourth  act  is  short,  its  principal  numbers  being  the 
introduction,  terzetto  and  chorus  ("  Wer  war's  der  euch 
hierher  beschied?"),  and  the  finale,  beginning  with  a  some- 
what sombre  march  of  the  cortege  accompanying  Rienzi  to 
the  church,  leading  to  the  details  of  the  conspiracy  scene,  and 
closing  with  the  malediction  of  the  monks  ("  Vae,  vae  tibi 
Maledicto").  The  last  act  opens  with  an  impressive  prayer 
by  Rienzi  ("  Allmacht'ger  Vater"),.  which  leads  to  a  tender 
duet  ("  Verlasst  die  Kirche  mich  ")  as  Irene  enters,  closing 
with  a  passionate  aria  by  Rienzi  ("Ich  liebte  gliihend  "). 
The  duet  is  then  resumed,  and  leads  to  a  second  and  intensely 
passionate  duet  ("  Du  hier  Irene!")  between  Adriano  and 
Irene.  The  finale  is  brief,  but  full  of  energy,  and  is  princi- 
pally choral.  The  denouement  hurries,  and  the  tragedy  is 
reached  amid  a  tumultuous  outburst  of  voices  and  instruments. 


WAGNER  337 

Unlike  Wagner's  other  operas,  set  melody  dominates  in 
"  Rienzi,"  and  the  orchestra,  as  in  the  Italian  school,  fur- 
nishes the  accompaniments.  We  have  the  regular  overture, 
aria,  duet,  trio,  and  concerted  finale;  but  after  "  Rienzi  "  we 
shall  observe  a  change,  at  last  becoming  so  radical  that  the 
composer  himself  threw  aside  his  first  opera  as  unworthy 
of  performance. 


The  Flying  Dutchman 

"  Der  Fliegende  Hollander,"  romantic  opera  in  three  acts, 
text  by  the  composer,  the  subject  taken  from  Heinrich  Heine's 
version  of  the  legend,  was  first  produced  at  Dresden,  January 
2,  1843,  with  Mme.  Schroder-Devrient  and  Herr  Wachter 
in  the  two  principal  roles.  It  was  also  produced  in  London 
in  1870  at  Drury  Lane  as  "  L'Ollandose  dannato,"  by  Signor 
Arditi,  with  Mile,  Di  Murska,  Signori  Foli,  Perotti,  and 
Rinaldini,  and  Mr.  Santley  in  the  leading  parts;  in  1876, 
by  Carl  Rosa  as  "  The  Flying  Dutchman,"  an  English  ver- 
sion; and  again  in  1877  as  "  II  Vascello  Fantasma."  In  this 
country  the  opera  was  introduced  in  its  English  form  by 
Miss  Clara  Louise  Kellogg  in  1886. 

Wagner  conceived  the  idea  of  writing  "  The  Flying  Dutch- 
man "  during  the  storm  which  overtook  him  on  his  voyage 
from  Riga  to  Paris,  He  says  in  his  Autobiography:  "  '  The 
Flying  Dutchman,'  whose  intimate  acquaintance  I  had  made 
at  sea,  continually  enchained  my  fancy,  I  had  become  ac- 
quainted, too,  with  Heinrich  Heine's  peculiar  treatment  of  the 
legend  in  one  portion  of  his  '  Salon.'  Especially  the  treat- 
ment of  the  delivery  of  this  Ahasuerus  of  the  ocean  (taken 
by  Heine  from  a  Dutch  drama  of  the  same  title)  gave  me 
everything  ready  to  use  the  legend  as  the  libretto  of  an  opera. 
I  came  to  an  understanding  about  it  with  Heine  himself, 
drew  up  the  scheme,  and  gave  it  to  M,  Leon  Pillet  [manager 
of  the  Grand  Opera],  with  the  proposition  that  he  should 
have  a  French  libretto  made  from  it  for  me,"  Subsequently 
M,    Pillet   purchased   the   libretto   direct   from   Wagner,   who 


338  THE    STANDARD    OPERAS 

consented  to  the  transaction,  as  he  saw  no  opportunity  of 
producing  the  opera  in  Paris.  It  was  then  set  by  Dietsch 
as  "  Le  Vaisseau  Fantome/'  and  brought  out  in  Paris  in  1842. 
In  the  meantime,  not  discouraged  by  his  bad  fortune,  Wagner 
set  to  work,  wrote  the  German  verse,  and  completed  the  opera 
in  seven  weeks  for  Dresden,  where  it  was  finally  performed, 
as  already  stated.  Unlike  "  Rienzi,"  it  met  with  failure  both 
in  Dresden  and  Berlin;  but  its  merits  were  recognized  by 
Spohr,  who  encouraged  him  to  persevere  in  the  course  he  had 
marked  out. 

The  plot  of  the  opera  is  very  simple.  A  Norwegian  vessel, 
commanded  by  Daland,  compelled  by  stress  of  weather,  enters 
a  port  not  far  from  her  destination.  At  the  same  time  a 
mysterious  vessel,  with  red  sails  and  black  hull,  commanded 
by  the  wandering  Flying  Dutchman,  who  is  destined  to  sail 
the  seas  without  rest  until  he  finds  a  maiden  who  will  be 
faithful  unto  death,  puts  into  the  same  port.  The  two  cap- 
tains meet,  and  Daland  invites  the  stranger  to  his  home.  The 
two  at  last  progress  so  rapidly  in  mutual  favor  that  a  mar- 
riage is  agreed  upon  between  the  stranger  and  Senta,  Daland's 
daughter.  The  latter  is  a  dreamy,  imaginative  girl,  who, 
though  she  has  an  accepted  lover,  Eric,  is  so  fascinated  with 
the  legend  of  the  stranger  that  she  becomes  convinced  she 
is  destined  to  save  him  from  perdition.  When  he  arrives  with 
her  father  she  recognizes  him  at  once,  and  vows  eternal 
constancy  to  him.  In  the  last  act,  however,  Eric  appears 
and  reproaches  Senta  with  her  faithlessness.  The  stranger 
overhears  them,  and  concludes  that  as  she  has  been  recreant 
to  her  former  lover,  so  too  she  will  be  untrue  to  him.  He 
decides  to  leave  her;  for  if  he  should  remain,  her  penalty 
would  be  eternal  death.  As  his  mysterious  vessel  sails  away 
Senta  rushes  to  a  cliif,  and  crying  out  that  her  life  will  be 
the  price  of  his  release,  hurls  herself  into  the  sea,  vowing  to 
be  constant  to  him  even  in  death.  The  phantom  vessel  sinks, 
the  sea  grows  calm,  and  in  the  distance  the  two  figures  are 
seen  rising  in  the  sunlight  never  to  be  parted. 

The  overture  characterizes   the   persons   and  situations  of 
the  drama,  and  introduces  the  motives   which  Wagner  ever 


c/) 


3 

1^ 


i5 


WAGNER  339 

after  used  so  freely,  —  among  them  the  curse  resting  upon  the 
Dutchman,  the  restless  motion  of  the  sea,  the  message  of  the 
Angel  of  Mercy  personified  in  Senta,  the  personification  of 
the  Dutchman,  and  the  song  of  Daland's  crew.  The  first 
act  opens  with  an  introduction  representing  a  storm,  and  a 
characteristic  sailors'  chorus,  followed  by  an  exquisite  love- 
song  for  tenor  ("  Mit  Gewitter  und  Sturm  "),  and  a  grand 
scena  for  the  Dutchman  ("  Die  Frist  ist  um  "),  which  lead 
up  to  a  melodious  duet  between  the  Dutchman  and  Daland. 
The  act  closes  with  the  sailors'  chorus  as  the  two  vessels  sail 
away. 

After  a  brief  instrumental  prelude,  the  second  act  opens 
in  Daland's  home,  where  the  melancholy  Senta  sits  surrounded 
by  her  companions,  who  are  spinning.  To  the  whirring  ac- 
companiment of  the  violins  they  sing  a  very  realistic  spinning 
song  ("Summ'  und  brumm  du  gutes  Madchen"),  interrupted 
at  intervals  by  the  laughter  of  the  girls  as  they  rally  Senta 
upon  her  melancholy  looks.  Senta  replies  with  a  weird  and 
exquisitely  melodious  ballad  ("  Johohae !  trafft  ihr  das  Schiff 
im  Meere  an"),  in  which  she  tells  the  story  of  the  Flying 
Dutchman,  and  anticipates  her  own  destiny.  The  song  is  full 
of  intense  feeling,  and  is  characterized  by  a  motive  which 
frequently  recurs  in  the  opera,  and  is  the  key  to  the  whole 
work.  A  duet  follows  between  Eric  and  Senta,  the  melodious 
character  of  which  shows  that  Wagner  was  not  yet  entirely 
freed  from  Italian  influences.  A  short  duet  ensues  between 
Senta  and  her  father,  and  then  the  Dutchman  appears.  As 
they  stand  and  gaze  at  each  other  for  a  long  time,  the  or- 
chestra meanwhile  supplying  the  supposed  emotions  of  each, 
we  have  a  clue  to  the  method  Wagner  was  afterwards  to 
employ  so  successfully.  A  duet  between  Senta  and  the  Dutch- 
man ("  Wie  aus  der  Feme")  and  a  terzetto  with  Daland 
close  the  act. 

The  third  act  opens  with  another  sailors'  chorus  ("  Steuer- 
mann,  lass  die  Wacht"),  and  a  brisk  dialogue  between  them 
and  the  women  who  are  bringing  them  provisions.  The  latter 
also  hail  the  crew  of  the  Dutchman's  vessel,  but  get  no  reply 
until  the  wind  suddenly  rises,  when  they  man  the  vessel  and 


340  THE    STANDARD    OPERAS 

sing  the  refrain  with  which  the  Dutchman  is  continually 
identified.  A  double  chorus  of  the  two  crews  follows.  Senta 
then  appears,  accompanied  by  Eric,  who  seeks  to  restrain 
her  from  following  the  stranger  in  a  very  dramatic  duet 
("  Wass  muss  ich  horen?  ").  The  finale  is  made  up  of  sailors' 
and  female  choruses,  and  a  trio  between  Senta,  Daland,  and 
the  Dutchman,  which  are  woven  together  with  consummate 
skill,  and  make  a  very  effective  termination  to  the  weird  story. 
There  are  no  points  in  common  between  "  The  Flying  Dutch- 
man "  and  "  Rienzi,"  except  that  in  the  former  Wagner  had 
not  yet  clearly  freed  himself  from  conventional  melody.  It 
is  interesting  as  marking  his  first  step  towards  the  music  of 
the  future  in  his  use  of  motives,  his  wonderful  treatment  of 
the  orchestra  in  enforcing  the  expression  of  the  text,  and  his 
combination  of  the  voices  and  instrumentation  in  what  he  so 
aptly  calls  "  The  Music-Drama." 


Tannhduser 

"  Tannhauser  und  der  Sangerkrieg  auf  Wartburg  "  ("  Tann- 
hauser  and  the  Singers'  Contest  at  the  Wartburg"),  romantic 
opera  in  three  acts,  text  by  the  composer,  was  first  produced 
at  the  Royal  Opera,  Dresden,  October  20,  1845,  with  the 
following  cast: 

Tannhduser Herr  Tichatschek. 

Wolfram Herr  Mitterwurzer. 

Walther Herr  Schloss. 

Beterolf Herr  Wachter, 

Elizabeth Frl.  Wagner. 

Venus Mme.  Schroder-Devrient. 

Its  first  performance  in  Paris  was  on  March  13,  1861; 
but  it  was  a  failure  after  three  presentations,  and  was  made 
the  butt  of  Parisian  ridicule,  even  Berlioz  joining  in  the  tirade. 
In  England  it  was  brought  out  in  Italian  at  Covent  Garden, 
May  6,  1876,  though  its  overture  was  played  by  the  London 
Philharmonic  Orchestra  in  1855,  Wagner  himself  leading. 
Its  first  performance  in  New  York  was  on  April  4,  1859. 


.'^     C; 


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03 
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WAGNER  34.1 

In  the  Spring  of  1842  Wagner  returned  from  Paris  to 
Germany,  and  on  his  way  to  Dresden  visited  the  castle  of 
Wartburg,  in  the  Thuringian  Valley,  where  he  first  conceived 
the  idea  of  writing  "  Tannhauser."  The  plot  was  taken  from 
an  old  German  tradition,  which  centres  about  the  castle  where 
the  landgraves  of  the  thirteenth  century  instituted  peaceful 
contests  between  the  Minnesingers  and  knightly  poets.  Near 
this  castle  towers  the  Venusberg,  a  dreary  elevation,  which, 
according  to  popular  tradition,  was  inhabited  by  Holda,  the 
Goddess  of  Spring.  Proscribed  by  Christianity,  she  took 
refuge  in  its  caverns,  where  she  was  afterwards  confounded 
with  the  Grecian  Venus.  Her  court  was  filled  with  nymphs 
and  sirens,  who  enticed  those  whose  impure  desires  led  them 
to  its  vicinity,  and  lured  them  into  the  caverns,  from  which 
they  were  supposed  never  to  return.  The  first  act  opens  in 
this  court,  and  reveals  Tannhauser,  the  knight  and  minstrel, 
under  the  sway  of  Venus.  In  spite  of  her  fascinations  he 
succeeds  in  tearing  himself  away,  and  we  next  find  him  at 
the  castle  of  Wartburg,  the  home  of  Hermann  the  Landgrave, 
whose  daughter  Elizabeth  is  in  love  with  him.  At  the  min- 
strel contest  he  enters  into  the  lists  with  the  other  Minne- 
singers, and,  impelled  by  a  reckless  audacity  and  the  subtle 
influence  of  Venus,  sings  of  the  attractions  of  sensual  pleas- 
ures. Walter,  of  the  Vogelweide,  replies  with  a  song  to  virtue. 
Tannhauser  breaks  out  in  renewed  sensual  strains,  and  a 
quarrel  ensues.  The  knights  rush  upon  him  with  their  swords, 
but  Elizabeth  interposes  and  saves  his  life.  He  expresses 
his  penitence,  makes  a  pilgrimage  to  Rome  and  confesses  to 
the  Pope,  who  replies  that,  having  tasted  the  pleasures  of 
hell,  he  is  forever  damned,  and,  raising  his  crosier,  adds: 
"  Even  as  this  wood  cannot  blossom  again,  so  there  is  no 
pardon  for  thee."  Elizabeth  prays  for  him  in  her  solitude, 
but  her  prayers  apparently  are  of  no  avail.  At  last  he  re- 
turns dejected  and  hopeless,  and  in  his  wanderings  meets 
Wolfram,  another  minstrel,  also  in  love  with  Elizabeth,  to 
whom  he  tells  the  sad  story  of  his  pilgrimage.  He  determines 
to  return  to  the  Venusberg.  He  hears  the  voices  of  the  sirens 
luring  him  back.    Wolfram  seeks  to  detain  him,  but  is  power- 


342  THE    STANDARD    OPERAS 

less  until  he  mentions  the  name  of  Elizabeth^  when  the  sirens 
vanish  and  their  spells  lose  their  attraction.  A  funeral  pro- 
cession approaches  in  the  distance,  and  on  the  bier  is  the  form 
of  the  saintly  Elizabeth.  He  sinks  down  upon  the  coffin  and 
dies.  As  his  spirit  passes  away  his  pilgrim's  staff  miracu- 
lously bursts  out  into  leaf  and  blossom,  showing  that  his  sins 
have  been  forgiven. 

The  overture  to  the  opera  is  well  known  by  its  frequent 
performances  as  a  concert  number.  It  begins  with  the  music 
of  the  Pilgrims'  Chorus,  which,  as  it  dies  away,  is  succeeded 
by  the  seductive  spells  of  the  Venusberg  and  the  voices  of 
the  sirens  calling  to  Tannhiiuser.  As  the  whirring  sounds 
grow  fainter  and  fainter,  the  Pilgrims'  Song  is  again  heard, 
and  at  last  closes  the  overture  in  a  joyous  burst  of  harmony. 
The  first  act  opens  with  the  scene  in  the  Venusberg,  accom- 
panied by  the  bacchanale  music,  which  was  written  in  Paris 
by  Wagner  after  the  opera  was  finished  and  had  been  per- 
formed. It  is  now  known  as  "  the  Parisian  Bacchanale."  It 
is  followed  by  a  voluptuous  scene  between  Tannhauser  and 
Venus,  a  long  dialogue,  during  which  the  hero,  seizing  his 
harp,  trolls  out  a  song  ("  Doch  sterblich,  ach !  "),  the  theme 
of  which  has  already  been  given  out  by  the  overture,  ex- 
pressing his  weariness  of  her  companionship.  The  second 
scene  transports  us  to  a  valley,  above  which  towers  the  castle 
of  Wartburg.  A  young  shepherd,  perched  upon  a  rock,  sings 
a  pastoral  invocation  to  Holda  ("  Frau  Holda  kam  aus  dem 
Berg  hervor"),  the  strains  of  his  pipe,  an  oboe  obbligato, 
weaving  about  the  stately  chorus  of  the  elder  Pilgrims  ("  Zu 
dir  wall'  ich,  mein  Herr  und  Gott  ")  as  they  come  along  the 
mountain  paths  from  the  castle.  The  scene,  which  is  one  of 
great  beauty,  closes  with  the  lament  of  Tannhauser  ("Ach! 
schwer  driickt  mich  der  Siinden  Last  "),  intermingled  with  the 
receding  song  of  the  Pilgrims,  the  ringing  of  church-bells  in 
the  distance,  and  the  merry  notes  of  hunters'  horns  as  the 
Landgrave  and  his  followers  approach.  The  meeting  with 
Tannhauser  leads  to  an  expressive  septet,  in  which  Wolfram 
has  a  very  impressive  solo  ("  Als  du  in  kiihnem  Sange  "). 

The  second  act  opens  in  the  singers'  hall  of  the  Wartburg. 


WAGNER  343 

Elizabeth,  entering  joyfully,  greets  it  in  a  recitative  ("  Froh 
griiss  ich  dich,  geliebter  Raum  "),  which  is  characterized  by 
a  joyous  but  dignified  dramatic  appeal,  recalling  the  scenes 
of  her  youth.  The  interview  between  Tannhiiuser  and  Eliza- 
beth, which  follows,  gives  rise  to  a  long  dialogue,  closing  with 
a  union  of  the  two  voices  in  the  charming  duet,  "  Gepriesen 
sei  die  Macht."  Then  follows  the  grand  march  and  chorus 
("  Freudig  begriissen  wir  die  edle  Halle  ")  announcing  the 
beginning  of  the  song  contest.  The  stirring  rhythm  and  bold, 
broad  outlines  of  this  march  are  so  well  known  that  it  is 
needless  to  dwell  upon  it.  The  scene  of  the  contest  is  de- 
clamatory throughout,  and  full  of  animation  and  spirit;  its 
most  salient  points  being  the  hymn  of  Wolfram  ("  O  Himmel 
lasst  dich  jetzt  erflehen  ")  in  honor  of  ideal  love,  and  Eliza- 
beth's appeal  to  the  knights  to  spare  Tannhauser  ("  Zuriick 
von  ihm"),  which  leads  up  to  a  spirited  septet  and  choral 
ensemble  closing  the  act. 

In  the  third  act  we  are  once  more  in  the  valley  of  the 
Wartburg.  After  a  plaintive  song  by  Wolfram  ("  Wohl  wusst' 
ich  hier  sic  im  Gebet  zu  finden  "),  the  chorus  of  the  returning 
Pilgrims  is  heard  in  the  distance,  working  up  to  a  magnificent 
crescendo  as  they  approach  and  cross  the  stage.  Elizabeth, 
who  has  been  earnestly  watching  them  to  find  if  Tannhauser 
be  of  their  number,  disappointed,  sinks  upon  her  knees  and 
sings  the  touching  prayer  ("  Allmacht'ge  Jungfrau,  hor  mein 
Flehen").  As  she  leaves  the  scene.  Wolfram  takes  his  harp 
and  sings  the  enchanting  fantasy  to  the  evening  star  ("  O, 
du  mein  holder  Abendstern  ")  —  a  love  song  to  the  saintly 
Elizabeth.  Tannhauser  makes  his  appearance.  A  long  de- 
clamatory dialogue  ensues  between  himself  and  Wolfram,  in 
which  he  recites  the  story  of  his  pilgrimage.  The  scene  is 
one  of  extraordinary  power,  and  calls  for  the  highest  vocal 
and  dramatic  qualities  in  order  to  make  it  effective.  From 
this  point  on,  the  tragedy  hastens.  There  is  the  struggle 
once  more  with  the  sirens,  and  amid  Wolfram's  touching 
appeals  and  Tannhauser's  exclamations  is  heard  the  entice- 
ment of  the  Venus  music.  But  at  the  name  "  Elizabeth  "  it 
dies  away.     The  mists  grow  denser  as  the  magic  crew  dis- 


344  THE    STANDARD    OPERAS 

appears,  and  through  them  a  light  is  seen  upon  the  Wartburg. 
The  tolling  of  bells  and  the  songs  of  mourners  are  heard  as 
the  cortege  approaches.  As  Tannhauser  dies,  the  Pilgrims' 
Chorus  again  rises  in  ecstasy,  closing  with  a  mighty  shout  of 
"Hallelujah!"  and  the  curtain  falls. 


Lohengrin 


'  I 


"  Lohengrin,"  romantic  opera  in  three  acts,  words  by  the 
composer,  was  first  produced  at  Weimar,  August  28,  1850, 
the  anniversary  of  Goethe's  birthday,  under  the  direction  of 
Franz  Liszt,  and  with  the  following  cast  of  the  leading  parts : 

Lohengrin Herr  Beck. 

Telramund Herr  Milde. 

King Herr  Hofer. 

Elsa Frau  Agathe. 

Ortrud Frl.  Fastlinger. 

"  Lohengrin  "  was  begun  in  Paris,  and  finished  in  Switzer- 
land during  the  period  in  which  Wagner  was  director  of  the 
musical  society  as  well  as  of  the  orchestra  at  the  city  theatre 
of  Zurich,  whither  he  had  fled  to  escape  the  penalties  for 
taking  part  in  the  political  agitations  and  subsequent  insur- 
rection of  1849.  Though  it  manifests  a  still  further  advance- 
ment in  the  development  of  his  system,  it  was  far  from  being 
composed  according  to  the  abstract  rules  he  had  laid  down. 
He  says  explicitly  on  this  point,  in  his  "  Music  of  the  Future  " : 
"  The  first  three  of  these  poems  — '  The  Flying  Dutchman,' 
'  Tannhauser,'  and  '  Lohengrin  '  —  were  written  by  me,  their 
music  composed,  and  all  (with  the  exception  of  '  Lohengrin  ') 
performed  upon  the  stage,  before  the  composition  of  my 
theoretical  writings." 

The  story  of  Lohengrin,  the  son  of  Parsifal,  upon  which 
Wagner  has  based  his  drama,  is  taken  from  many  sources, 
the  old  Celtic  legend  of  King  Arthur,  his  knights,  and  the 
Holy  Grail  being  mixed  with  the  distinctively  German  legend 
of  a  knight  who  arrives  in  his  boat  drawn  by  a  swan.  The 
version  used  by  Wagner  is  supposed  to  be  told  by  Wolfram 


s?tssBraKa> 


Schumann-Heink  as  Ortrud 

Copyright,  Aint^ Dttpont. 


WAGNER  345 

von  Eschenbach,  the  Minnesinger,  at  one  of  the  Wartburg 
contests,  and  is  in  substance  as  follows:  Henry  I.,  King  of 
Germany,  known  as  "  the  Fowler,"  arrives  at  Antwerp  for 
the  purpose  of  raising  a  force  to  help  him  expel  the  Hun- 
garians, who  are  threatening  his  dominions.  He  finds  Brabant 
in  a  condition  of  anarchy.  Gottfried,  the  young  son  of  the 
late  Duke,  has  mysteriously  disappeared,  and  Telramund,  the 
husband  of  Ortrud,  daughter  of  the  Prince  of  Friesland, 
claims  the  dukedom.  The  claimant  openly  charges  Elsa,  sister 
of  Gottfried,  with  having  murdered  him  to  obtain  the  sov- 
ereignty, and  she  is  summoned  before  the  King  to  submit 
her  cause  to  the  ordeal  of  battle  between  Telramund  and  any 
knight  whom  she  may  name.  She  describes  a  champion  whom 
she  has  seen  in  a  vision,  and  conjures  him  to  appear  in  her 
behalf.  After  a  triple  summons  by  the  heralds,  he  is  seen 
approaching  on  the  Scheldt,  in  a  boat  drawn  by  a  swan. 
Before  the  combat  Lohengrin  and  Elsa  are  betrothed,  he 
naming  the  condition  that  she  shall  never  question  him  as  to 
his  name  or  race.  She  assents,  and  the  combat  results  in 
Telramund's  defeat  and  public  disgrace. 

In  the  second  act  the  bridal  ceremonies  occur,  prior  to 
which,  moved  by  Ortrud's  entreaties,  Elsa  promises  to  obtain 
a  reprieve  for  Telramund  from  the  sentence  which  has  been 
pronounced  against  him.  At  the  same  time  Ortrud  takes 
advantage  of  her  success  to  instil  doubts  into  Elsa's  mind  as 
to  her  future  happiness  and  the  faithfulness  of  Lohengrin, 
In  the  next  scene,  as  the  bridal  cortege  is  about  to  enter  the 
minster,  Ortrud  claims  the  right  of  precedence  by  virtue  of 
her  rank,  and  Telramund  publicly  accuses  Lohengrin  of  sor- 
cery. The  faith  of  Elsa,  however,  is  not  shaken.  The  two 
conspirators  are  ordered  to  stand  aside,  the  train  enters  the 
church,  and  Elsa  and  Lohengrin  are  united. 

The  third  act  opens  in  the  bridal  chamber.  The  seeds  of 
curiosity  and  distrust  which  Ortrud  has  sown  in  Elsa's  mind 
have  ripened,  and  in  spite  of  her  conviction  that  it  will  de- 
stroy her  happiness,  she  questions  Lohengrin  with  increasing 
vehemence,  at  last  openly  demanding  to  know  his  secret.  At 
this  juncture  Telramund  breaks  into  the  apartment  with  four 


346  THE    STANDARD    OPERAS 

followers,  intending  to  take  the  life  of  Lohengrin.  A  single 
blow  of  the  Knight's  sword  stretches  him  lifeless.  He  then 
places  Elsa  in  the  charge  of  her  ladies  and  orders  them  to 
take  her  to  the  presence  of  the  King,  whither  he  also  repairs. 
Compelled  by  his  wife's  unfortunate  rashness,  he  discloses 
himself  as  the  son  of  Parsifal,  Knight  of  the  Holy  Grail, 
and  announces  that  he  must  now  return  to  its  guardianship. 
His  swan  once  more  appears,  and  as  he  steps  into  the  boat 
he  bids  Elsa  an  eternal  farewell.  Before  he  sails  away,  how- 
ever, Ortrud  declares  to  the  wondering  crowd  that  the  swan 
is  Elsa's  brother,  whom  she  has  changed  into  this  form,  and 
who  would  have  been  released  but  for  Elsa's  curiosity. 
Lohengrin  at  once  disenchants  the  swan,  and  Gottfried  ap- 
pears and  rushes  into  his  sister's  arms.  A  white  dove  flies 
through  the  air  and  takes  the  place  of  the  swan,  and  Lohen- 
grin sails  away  as  Elsa  dies  in  the  embrace  of  her  newly 
found  brother. 

The  Vorspiel,  or  prelude,  to  the  opera  takes  for  its  subject 
the  descent  of  the  Holy  Grail,  the  mysterious  symbol  of  the 
Christian  faith,  and  the  Grail  motive  is  the  key  to  the  whole 
work.  The  delicious  harmonies  which  accompany  its  descent 
increase  in  warmth  and  power  until  the  sacred  mystery  is 
revealed  to  human  eyes,  and  then  die  away  to  a  pianissimo, 
and  gradually  disappear  as  the  angels  bearing  the  holy  vessel 
return  to  their  celestial  abode.  The  curtain  rises  upon  a 
meadow  on  the  banks  of  the  Scheldt,  showing  King  Henry 
surrounded  by  his  vassals  and  retainers.  After  their  choral 
declaration  of  allegiance,  Telramund,  in  a  long  declamatory 
scena  of  great  power  ("  Zum  Sterben  kam  der  Herzog  von 
Brabant"),  tells  the  story  of  the  troubles  in  Brabant,  and 
impeaches  Elsa.  At  the  King's  command,  Elsa  appears,  and 
in  a  melodious  utterance  of  extreme  simplicity  and  sweet- 
ness, which  is  called  the  dream  motive  ("  Einsam  in  triiben 
Tagen  "),  relates  the  vision  of  the  Knight  who  is  to  come  to 
her  assistance.  The  summons  of  the  heralds  preludes  the 
climax  of  the  act.  Amid  natural  outcries  of  popular  wonder- 
ment Lohengrin  appears,  and  as  he  leaves  his  boat,  bids  fare- 
well to  his  swan  in  a  strain  of  delicate  beauty   ("  Nun  sei 


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gedankt,  mcin  lieber  Schwan  ").  The  preparations  for  the 
combat  are  made,  but  before  it  begins,  the  motive  of  warning 
is  sounded  by  Lohengrin  ("  Nie  sollst  du  mich  befragen  "). 
The  finale  of  the  act  takes  the  form  of  a  powerful  ensemble, 
composed  of  sextet  and  chorus,  and  beginning  with  the  prayer 
of  the  King  ("  Mein  Herr  und  Gott,  nun  ruf  ich  Dich  "). 

The  second  act  opens  upon  a  night  scene  near  the  palace, 
which  is  merry  with  the  wedding  festivities,  while  the  discom- 
fited Telramund  and  Ortrud  are  plotting  their  conspiracy 
without  in  a  long  duet  ("  Erhebe  dich,  Genossin  meincr 
Schmach  "),  which  introduces  new  motives  of  hatred  and  re- 
venge, as  opposed  to  the  Grail  motive.  In  the  second  scene 
Elsa  appears  upon  the  balcony  and  sings  a  love  song  ("  Euch 
Liiften,  die  mein  Klagen  "),  whose  tenderness  and  confidence 
are  in  marked  contrast  with  the  doubts  sown  in  her  mind 
by  Ortrud  before  the  scene  closes.  The  third  scene  is  pre- 
luded with  descriptive  sunrise  music  by  the  orchestra,  followed 
by  the  herald's  proclamations,  interspersed  by  choral  re- 
sponses, leading  up  to  the  bridal-procession  music  as  the  train 
moves  on  from  the  palace  to  the  cathedral,  accompanied  by 
a  stately  march  and  choral  strains,  and  all  the  artistic  sur- 
roundings of  a  beautiful  stage  pageant.  The  progress  is  twice 
interrupted ;  first  by  Ortrud,  who  asserts  her  precedence,  and 
second  by  Telramund,  who,  in  the  scena  ("  Den  dort  im 
Glanz  "),  accuses  Lohengrin  of  sorcery.  When  Elsa  still  ex- 
presses her  faith,  the  train  moves  on,  and  reaches  its  destina- 
tion amid  the  acclamations  of  the  chorus  ("  Heil,  Elsa  von 
Brabant!  "). 

The  third  act  opens  in  the  bridal  chamber  vrith  the  graceful 
bridal  song  by  Lisa's  ladies  ("  Treulich  gefuhrt,  ziehet 
dahin "),  whose  melodious  strains  have  accompanied  many 
unions,  the  world  over,  besides  those  of  Elsa  and  Lohengrin. 
The  second  scene  is  an  exquisite  picture  of  the  mutual  out- 
pouring of  love,  at  first  full  of  beauty  and  tenderness,  but 
gradually  darkening  as  Ortrud's  insinuations  produce  their 
effect  in  Lisa's  mind.  Tenderly  Lohengrin  appeals  to  her, 
but  in  vain ;  and  at  last  the  motive  of  warning  is  heard.  The 
fatal  questions  are  asked,  the  tragedy  of  Telramund  follows, 


348  THE    STANDARD    OPERAS 

and  all  is  over.  The  last  scene  introduces  us  once  more  to 
the  meadow  on  the  Scheldt,  where  Lohengrin  appears  before 
the  King  and  his  vassals.  In  their  presence  he  reveals  him- 
self as  the  son  of  Parsifal,  in  a  scena  of  consummate  power 
("  In  fernem  Land,  unnahbar  euren  Schritten  "),  wherein  the 
Grail  motive  reaches  its  fullest  development.  It  is  followed 
by  his  touching  farewell  ("  O  Elsa !  nur  ein  Jahr  an  deiner 
Seite "),  the  melody  of  which  can  hardly  be  surpassed  in 
dignity  and  impressiveness.  The  denouement  now  hastens, 
and  Lohengrin  disappears,  to  the  accompaniment  of  the  Grail 
motive. 

Tristan  and  Isolde 

"  Tristan  und  Isolde,"  opera  in  three  acts,  words  by  the 
composer,  was  first  produced  at  Munich,  June  10,  1865,  under 
the  direction  of  Hans  von  Biilow,  with  the  following  cast  of 
characters : 

Tristan Herr  Ludwig  Schnorr  von  Carolspeld. 

Kurwenal Herr  Mitterwitrzer. 

King  Mark Herr  Zottmayer. 

Isolde      Mme.  Schnorr  von  Carolsfeld. 

Brangaena Mile.  Deinet. 

The  opera  was  first  produced  in  New  York,  December  1, 
1887,  with  the  following  cast: 

Tristan Herr  Niemann. 

Kurwenal Mr.  RosmsoN. 

King  Mark Herr  Fischer. 

Isolde Frl.  Lilli  Lehmann. 

Brangaena Frl.  Mariann  Brandt. 

"  Tristan  and  Isolde  "  was  commenced  in  1857  and  finished 
in  1859,  during  the  period  in  which  Wagner  was  engaged 
upon  his  colossal  work,  "  The  Ring  of  the  Nibelung."  As 
early  as  the  middle  of  1852  he  had  finished  the  four  dramatic 
poems  which  comprise  the  cycle  of  the  latter,  and  during 
the  next  three  years  he  finished  the  music  to  "  Das  Rheingold  " 
and  "  Die  Walkiire."     In  one  of  his  letters  he  says:  "  In  the 


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Summer  of  1857  I  determined  to  interrupt  the  execution  of 
my  work  on  the  Nibelungen  and  begin  something  shorter, 
which  should  renew  my  connection  with  the  stage."  The 
legend  of  Tristan  was  selected.  It  is  derived  from  the  old 
Celtic  story  of  "  Tristram  and  Iseult,"  the  version  adopted 
by  Wagner  being  that  of  Gottfried  of  Strasburg,  a  bard  of 
the  thirteenth  century,  though  it  must  be  said  he  uses  it  in 
his  own  manner,  and  at  times  widely  departs  both  from  the 
original  and  the  mediaeval  poem. 

In  "  Tristan  and  Isolde  "  Wagner  broke  completely  loose 
from  all  the  conventional  forms  of  opera.  It  has  nothing  in 
common  with  the  old  style  of  lyric  entertainment.  As  Hueffer 
says,  in  his  recent  Life  of  Wagner:  "  Here  is  heard  for  the 
first  time  the  unimpaired  language  of  dramatic  passion  in- 
tensified by  an  uninterrupted  flow  of  expressive  melody.  Here 
also  the  orchestra  obtains  that  wide  range  of  emotional  ex- 
pression which  enables  it,  like  the  chorus  of  the  antique 
tragedy,  to  discharge  the  dialogue  of  an  overplus  of  lyrical 
elements  without  weakening  the  intensity  of  the  situation, 
which  it  accompanies  like  an  unceasing  passionate  undercur- 
rent." In  an  opera  like  this,  which  is  intended  to  commingle 
dramatic  action,  intensity  of  verse,  and  the  power  and  charm 
of  the  music  in  one  homogeneous  whole,  the  reader  will  at 
once  observe  the  difficulty  of  doing  much  more  than  telling 
of  its  story,  leaving  the  musical  declamation  and  effect  to  be 
inferred  from  the  text.  Even  Wagner  himself  in  the  original 
title  is  careful  to  designate  the  work  "  Ein  Handlung  "  (an 
action). 

The  vorspiel  to  the  drama  is  based  upon  a  single  motive, 
which  is  worked  up  with  consummate  skill  into  various  melodic 
forms,  and  frequently  appears  throughout  the  work.  It  might 
well  be  termed  the  motive  of  restless,  irresistible  passion. 
The  drama  opens  on  board  a  ship  in  which  the  Cornish 
Knight,  Tristan,  is  bearing  Isolde,  the  unwilling  Irish  bride, 
to  King  Mark  of  Cornwall.  As  the  vessel  is  nearing  the  land, 
Isolde  sends  Brangaena  to  the  Knight,  who  is  also  in  love 
with  her,  but  holds  himself  aloof  by  reason  of  a  blood-feud, 
and  orders   him  to  appear  at  her  side.     His   refusal  turns 


350  THE    STANDARD    OPERAS 

Isolde's  affection  to  bitterness,  and  she  resolves  that  he  shall 
die,  and  that  she  will  share  death  with  him.  She  once  more 
calls  Tristan,  and  tells  him  that  the  time  has  come  for  him 
to  make  atonement  for  slaying  her  kinsman,  Morold.  She 
directs  Brangaena  to  mix  a  death-potion  and  invites  him  to 
drink  with  her,  but  without  her  knowledge  Brangaena  has 
prepared  a  love-potion,  which  inflames  their  passions  beyond 
power  of  restraint.  Oblivious  of  the  landing,  the  approach 
of  the  royal  train,  and  all  that  is  going  on  about  them,  they 
remain  folded  in  mutual  embrace. 

The  second  act  opens  in  Cornwall,  in  a  garden  which  leads 
to  Isolde's  chamber,  she  being  already  wedded  to  King  Mark. 
With  Brangaena  she  is  waiting  for  Tristan.  The  King  goes 
out  upon  a  night  hunt,  and  no  sooner  has  he  disappeared  than 
Isolde  gives  the  signal  for  his  approach,  while  Brangaena 
goes  to  her  station  to  watch.  The  second  scene  is  a  most 
elaborate  love-duet  between  the  guilty  pair,  the  two  voices  at 
first  joining  ("  Bist  du  mein?  Hab'  ich  dich  wieder?").  A 
passionate  dialogue  ensues,  and  then  the  two  voices  join  again 
("  O  sink'  hernieder,  Nacht  der  Liebe  ").  After  a  brief  dia- 
logue Brangaena's  warning  voice  is  heard.  Absorbed  in  each 
other,  they  pay  no  heed,  and  once  more  they  join  in  the  very 
ecstasy  of  passion,  so  far  as  it  can  be  given  musical  form, 
in  the  finale  of  the  duet  ("  O  siisse  Nacht!  Ew'ge  Nacht! 
Hehr  erhabne  Liebes-Nacht  ").  The  treachery  of  Sir  Melot, 
.  Tristan's  pretended  friend,  betrays  the  lovers  to  the  King. 
Tristan  offers  no  explanations,  but  touched  by  the  King's 
bitter  reproaches  provokes  Sir  Melot  to  combat  and  allows 
himself  to  be  mortally  wounded. 

The  third  act  opens  in  Brittany,  whither  Kurwenal,  Tris- 
tan's faithful  henchman,  has  taken  him.  A  shepherd  lad 
watches  from  a  neighboring  height  to  announce  the  appear- 
ance of  a  vessel,  for  Kurwenal  has  sent  for  Isolde  to  heal 
his  master's  wound.  At  last  the  stirring  strains  of  the  shep- 
herd's pipe  signal  her  coming.  In  his  delirious  joy  Tristan 
tears  the  bandages  from  his  wounds,  and  has  only  strength 
enough  left  to  call  Isolde  by  name  and  die  in  her  arms.  A 
second  vessel  is  seen  approaching,  bearing  King  Mark  and 


WAGNER  351 

his  men.  Thinking  that  his  design  is  hostile,  Kurwenal  at- 
tempts to  defend  the  castle,  but  is  soon  forced  to  yield,  and 
dies  at  the  feet  of  his  master.  The  King  exclaims  against 
his  rashness,  for  since  having  heard  Brangaena's  story  of  the 
love-potion  he  had  come  to  give  his  consent  to  the  union  of 
the  lovers.  Isolde,  transfixed  with  grief,  sings  her  last  fare- 
well to  her  lover  ("  Mild  und  leise  wie  er  lachelt  "),  and  ex- 
pires on  his  body.  The  dying  song  is  one  of  great  beauty 
and  pathos,  and  sadly  recalls  the  passion  of  the  duet  in  the 
second  act,  as  Isolde's  mournful  strains  are  accompanied  in 
the  orchestra  by  the  sweetly  melodious  motives  which  had 
been  heard  in  it,  the  interweaving  of  the  two  also  suggesting 
that  in  death  the  lovers  have  been  reunited. 


The  Mastersingers 

"  Die  Meistersinger  von  Niirnberg,"  comic  opera  in  three 
acts,  words  by  the  composer,  was  first  produced  at  Munich, 
June  21,  1868,  under  the  direction  of  Hans  von  Biilow,  with 
the  following  cast: 

Hans  Sachs Herr  Betz. 

Walter Herr  Nachbauer. 

Beckmesser Herr  Holzel. 

David Herr  Schlosser. 

Eva      Mile.  Mallingeb. 

Magdalena Mme.  Dietz. 

The  opera  was  first  produced  in  New  Yoi'k,  January  4,  1885, 
upon  which  occasion  Emil  Fischer  was  the  Hans  Sachs. 

The  plan  of  "  The  Mastersingers  "  was  conceived  about  the 
same  time  as  that  of  "  Lohengrin,"  during  the  composer's 
stay  at  Marienbad,  and  occupied  his  attention  at  intervals 
for  twenty  years,  for  it  was  not  finished  until  1867.  As  is 
clearly  apparent  both  from  its  music  and  text,  it  was  intended 
as  a  satire  upon  the  composer's  critics,  who  had  charged  that 
he  was  incapable  of  writing  melody.  It  is  easy  to  see  that 
these  critics  are  symbolized  by  the  old  pedant  Beckmesser, 
and  that  in  Walter  we  have  Wagner  himself.     When  he  is 


352  THE    STANDARD    OPERAS 

first  brought  in  contact  with  the  Mastersingers,  and  one  of 
their  number,  Kothner,  asks  him  if  he  gained  his  knowledge 
in  any  school,  he  replies,  "  The  wood  before  the  Vogelweid, 
'twas  there  I  learnt  my  singing";   and  again  he  answers: 

"  What  winter  night. 

What  wood  so  bright. 
What  book  and  nature  brought  me. 
What  poet  songs  of  magic  might 
Mysteriously  have  taught  me. 

On  horses'  tramp. 

On  field  and  camp. 

On  knights  arrayed 

For  war  parade. 
My  mind  its  powers  exerted." 

The  story  is  not  only  one  of  love  as  between  "Walter  and 
Eva,  but  of  satirical  protest  as  between  Walter  and  Beck- 
messer,  and  the  two  subjects  are  illustrated  not  only  with 
delicate  fancy  but  with  the  liveliest  of  humor.  The  work  is 
replete  with  melody.  It  has  chorales,  marches,  folk-songs, 
duets,  quintets,  ensembles,  and  choruses,  and  yet  the  com- 
poser does  not  lose  sight  of  his  theories ;  for  here  we  observe 
as  characteristic  a  use  of  motives  and  as  skilful  a  combina- 
tion of  them  as  can  be  found  in  any  of  his  works.  Thor- 
oughly to  comprehend  the  story,  it  is  necessary  to  understand 
the  conditions  one  had  to  fulfil  before  he  could  be  a  "  master- 
singer."  First  of  all  he  must  master  the  "  Tabulatur,"  which 
included  the  rules  and  prohibitions.  Then  he  must  have  the 
requisite  acquaintance  with  the  various  methods  of  rhyming 
verse,  and  with  the  manner  of  fitting  appropriate  music  to 
it.  One  who  had  partially  mastered  the  Tabulatur  was  termed 
a  "  scholar " ;  the  one  who  had  thoroughly  learned  it,  a 
"  schoolman  " ;  the  one  who  could  improvise  verses,  a  "  poet  " ; 
and  the  one  who  could  set  music  to  his  verses,  a  "  master- 
singer."  In  the  test  there  were  thirty-three  faults  to  be 
guarded  against;  and  whenever  the  marker  had  chalked  up 
seven  against  the  candidate,  he  was  declared  to  have  over- 
sung  himself  and  lost  the  coveted  honor. 

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WAGNER  353 

life,  full  of  festive  pomp,  stirring  action,  glowing  passion, 
and  exuberant  humor.  The  first  act  opens  in  the  Church  of 
St.  Katherine,  at  Nuremberg,  with  the  singing  of  a  chorale 
to  organ  accompaniment.  During  the  chorale  and  its  inter- 
ludes a  quiet  love  scene  is  being  enacted  between  Eva, 
daughter  of  the  wealthy  goldsmith,  Veit  Pogner,  and  Walter 
von  Stolzing,  a  noble  young  Knight.  The  attraction  is  mutual. 
Eva  is  ready  to  become  his  bride,  but  it  is  necessary  that 
her  husband  should  be  a  mastersinger.  Rather  than  give  up 
the  hand  of  the  fair  Eva,  Walter,  short  as  the  time  is,  deter- 
mines to  master  the  precepts  and  enter  the  lists.  As  Eva  and 
her  attendant,  Magdalena,  leave  the  church,  the  apprentices 
enter  to  arrange  for  the  trial,  among  them  David,  the  friskiest 
of  them  all,  who  is  in  love  with  Magdalena.  He  volunteers 
to  give  Walter  some  instructions,  but  they  do  not  avail  him 
much  in  the  end,  for  the  lesson  is  sadly  disturbed  by  the 
gibes  of  the  boys,  in  a  scene  full  of  musical  humor.  At  last 
Pogner  and  Beckmesser,  the  marker,  who  is  also  a  competitor 
for  Eva's  hand,  enter  from  the  sacristy.  After  a  long  dia- 
logue between  them  the  other  masters  assemble,  Hans  Sachs, 
the  cobbler-bard,  coming  in  last.  After  calling  the  roll,  the 
ceremonies  open  with  a  pompous  address  by  Pogner  ("  Das 
schone  Fest,  Johannis-Tag  "),  in  which  he  promises  the  hand 
of  Eva,  "  with  my  gold  and  goods  beside,"  to  the  successful 
singer  on  the  morrow,  which  is  John  the  Baptist's  Day. 
After  a  long  parley  among  the  gossiping  masters,  Pogner 
introduces  Walter  as  a  candidate  for  election.  He  sings  a 
charming  song  ("So  rief  der  Lenz  in  den  Wald"),  and  as 
he  sings,  the  marker,  concealed  behind  a  screen,  is  heard  scor- 
ing down  the  faults.  When  he  displays  the  slate  it  is  found 
to  be  covered  with  them.  The  masters  declare  him  outsung 
and  rejected,  but  Hans  Sachs  befriends  him,  and  demands 
he  shall  have  a  chance  for  the  prize. 

The  second  act  discloses  Pogner's  house  and  Sachs's  shop. 
The  apprentices  are  busy  putting  up  the  shutters,  and  are 
singing  as  they  work.  Walter  meets  Eva  and  plots  an  elope- 
ment with  her,  but  Sachs  prevents  them  from  carrying  out 
their  rash  plan.     ISIeanwhile  Beckmesser  makes  his  appear- 


354  THE    STANDARD    OPERAS 

ance  with  his  lute  for  the  purpose  of  serenading  Eva  and 
rehearsing  the  song  he  is  to  sing  for  the  prize  on  the  mor- 
row. As  he  is  about  to  sing,  Sachs  breaks  out  into  a  rollick- 
ing folk-song  ("  Jerum,  jerum,  halla,  halla,  he!"),  in  which 
he  sings  of  Mother  Eve  and  the  troubles  she  had  after  she 
left  Paradise,  for  want  of  shoes.  At  last  he  allows  Beck- 
messer  a  hearing,  provided  he  will  permit  him  to  mark  the 
faults  with  his  hammer  upon  the  shoe  he  is  making.  The 
marker  consents,  and  sings  his  song  ("  Den  Tag  seh'  ich 
erscheinen  "),  accompanied  with  excruciating  roulades  of  the 
old-fashioned  conventional  sort;  but  Sachs  knocks  so  often 
that  his  shoe  is  finished  long  before  Beckmesser's  song.  This 
is  his  first  humiliation.  Before  the  act  finishes  he  is  plunged 
into  still  further  trouble,  for  David  suspects  him  of  designs 
upon  Magdalena,  and  a  general  quarrel  ensues. 

The  third  act  opens  upon  a  peaceful  Sunday-morning  scene 
in  the  sleepy  old  town,  and  shows  us  Sachs  sitting  in  his 
armchair  at  the  window  reading  his  Bible,  and  now  and  then 
expressing  his  hopes  for  Walter's  success,  as  the  great  contest 
is  soon  to  take  place.  At  last  he  leans  back,  and  after  a 
brief  meditation  commences  a  characteristic  song  ("Wahn! 
wahn!  Ueberall  wahn!").  A  long  dialogue  ensues  between 
him  and  Walter,  and  then  as  Eva,  David,  Magdalena,  and 
Beckmesser  successively  enter,  the  scene  develops  into  a  mag- 
nificent quintet,  which  is  one  of  the  most  charming  numbers 
in  the  opera.  The  situation  then  suddenly  changes.  The 
stage  setting  represents  an  open  meadow  on  the  banks  of  the 
Pegnitz.  The  river  is  crowded  with  boats.  The  plain  is 
covered  with  tents  full  of  merrymakers.  The  different  guilds 
are  continually  arriving.  A  livelier  or  more  stirring  scene 
can  hardly  be  imagined  than  Wagner  has  here  pictured,  with 
its  accompaniment  of  choruses  by  the  various  handicraftsmen, 
their  pompous  marches,  and  the  rural  strains  of  town  pipers. 
At  last  the  contest  begins.  Beckmesser  attempts  to  get 
through  his  song  and  dismally  fails.  Walter  follows  him 
with  the  beautiful  prize-song  ("  Morgenlich  leuchtend  in 
rosigem  Schein").  He  wins  the  day  and  the  hand  of  Eva. 
Exultant  Sachs  trolls  out  a  lusty  lay   ("  Verachtet  mir  der 


VVinklemann  as  Walter 


WAGNER  355 

Meister  nicht"),  and  the  stirring  scene  ends  with  the  ac- 
clamations of  the  people  ("  Heil,  Sachs!  Hans  Sachs!  Heil 
Niirnberg's  Theurem  Sachs  "). 


The  Ring  of  the  Nibelung 

"  Der   Ring   der   Nibelungen,"   trilogy,  the   subject  taken 
from  the   Nibelnngen  Lied  and   freely  adapted  by  the  com- 
poser, was  first  conceived  by  Wagner  during  the  composition 
of  "  Lohengrin."     The  four  dramatic  poems  which  constitute 
the  cycle  were  written  as  early  as   1852,  which  will  correct 
the  general  impression  that  this  colossal  work  was  projected 
during  the  closing  years  of  his  life.     On  the  contrary,  it  was 
the  product  of  his  prime.     Hueffer,  in  his  biographical  sketch 
of  Wagner,  says  that  he  hesitated  between  the  historical  and 
mythical  principles  as  the  subjects  of  his  work,  —  Frederick 
the   First   representing  the   former,   and   Siegfried,   the   hero 
of    Teutonic    mythology,    the    latter.      Siegfried    was    finally 
selected.     "  Wagner  began  at  once  sketching  the  subject,  but 
gradually  the  immense  breadth  and  grandeur  of  the  old  types 
began  to  expand  under  his  hands,  and  the  result  was  a  trilogy, 
or  rather  tetralogy,  of  enormous  dimensions,  perhaps  the  most 
colossal  attempt  upon  which  the  dramatic  muse  has  ventured 
since  the  times  of  iEschylus."     The  trilogy  is  really  in  four 
parts,  — "Das    Rheingoid "    (The    Rhinegold) ;     "Die   Wal- 
kiire  "   (The  Valkyrie)  ;  "  Siegfried  " ;  and  "  Die  Gotterdam- 
merung"    (The   Twilight  of   the   Gods),   "The   Rhinegold" 
being  in  the  nature  of  an  introduction  to  the  trilogy  proper, 
though  occupying  an  evening  for  its  performance.     Between 
the  years    1852   and   1856  the  composer  wrote  the  music   of 
"  The  Rhinegold  "  and  the  whole  of  "  The  Valkyrie  " ;    and 
then,  as  he  says  himself,  wishing  to  keep  up  his  active  con- 
nection  with  the   stage,   he   interrupted   the   progress   of  the 
main  scheme,  and  wrote  "  Tristan  and  Isolde,"  which  occu- 
pied him  from  1856  to  1859.     During  its  composition,  how- 
ever, he  did  not  entirely  neglect  the  trilogy.     In  the  Autumn 
of  1856  he  began  "  Siegfried,"  the  composition  of  which  was 


356  THE    STANDARD    OPERAS 

not  finished  until  1869,  owing  to  many  other  objects  which 
engaged  his  attention  during  this  period,  one  of  which  was 
the  composition  of  "  The  Mastersingers,"  which  he  wrote  at 
intervals  between  1861  and  1867.  From  the  latter  year  until 
1876,  when  the  trilogy  was  produced  at  Baireuth,  he  gave 
himself  wholly  to  the  work  of  completing  it  and  preparing 
it  for  the  stage. 

Prior  to  the  production  of  the  completed  work,  separate 
parts  of  it  were  given,  though  Wagner  strongly  opposed  it. 
"  The  Rhinegold,"  or  introduction,  came  to  a  public  dress 
rehearsal  at  IMunich,  August  25,  1869,  and  "The  Valkyrie" 
was  performed  in  a  similar  manner  in  the  same  city,  June  24, 
1870,  with  the  following  cast: 

Wotan Ilerr  KiNDERMANN. 

Siegmund Kerr  VoGL. 

Hunding Herr  Bauserwein. 

Briinnkilde Frl.  Stehle. 

Sieglinde Frau  Vogl. 

Fricka Frl.  EL4.uffmann. 

The  "  Siegfried  "  and  "  Gotterdammerung,"  however,  were 
not  given  until  the  entire  work  was  performed  in  1876.  Upon 
the  completion  of  his  colossal  task  Wagner  began  to  look  about 
him  for  the  locality,  theatre,  artists,  and  materials  suitable 
for  a  successful  representation.  In  the  circular  which  he 
issued,  narrating  the  circumstances  which  led  up  to  the  build- 
ing of  the  Baireuth  opera  house,  he  says:  "As  early  as  the 
Spring  of  1871  I  had,  quietly  and  unnoticed,  had  my  eye  upon 
Baireuth,  the  place  I  had  chosen  for  my  purpose.  The  idea 
of  using  the  Margravian  Opera  House  was  abandoned  so  soon 
as  I  saw  its  interior  construction.  But  yet  the  peculiar 
character  of  that  kindly  town  and  its  site  so  answered  my 
requirements,  that  during  the  wintry  latter  part  of  the  Autumn 
of  the  same  year  I  repeated  my  visit,  —  this  time,  however, 
to  treat  with  the  city  authorities.  .  .  .  An  unsurpassably 
beautiful  and  eligible  plat  of  ground  at  no  great  distance 
from  the  town  was  given  me  on  which  to  build  the  proposed 
theatre.  Having  come  to  an  understanding  as  to  its  erection 
■with  a  man  of  approved  inventive  genius,  and  of  rare  expe- 


WAGNER  357 

rience  in  the  interior  arrangement  of  theatres,  we  could  then 
intrust  to  an  architect  of  equal  acquaintance  with  theatrical 
building  the  further  planning  and  the  erection  of  the  pro- 
visional structure.  And  despite  the  great  difficulties  which 
attended  the  arrangements  for  putting  under  way  so  unusual 
an  undertaking,  we  made  such  progress  that  the  laying  of  the 
corner-stone  could  be  announced  to  our  patrons  and  friends 
for  May  22,  1872."  The  ceremony  took  place  as  announced, 
and  was  made  still  further  memorable  by  a  magnificent  per- 
formance of  Beethoven's  Ninth  or  Choral  Symphony,  the 
chorus  of  which,  the  "  Ode  to  Joy,"  was  sung  by  hundreds  of 
lusty  German  throats.  In  addition  to  the  other  contents  of  the 
stone,  Wagner  deposited  the  following  mystic  verse  of  his  own : 

"I  bury  here  a  secret  deep. 

For  centuries  long  to  lie  concealed; 
Yet  while  this  stone  its  trust  shall  keep. 
To  all  the  secret  stands  revealed." 

He  also  made  an  eloquent  address,  setting  forth  the  details 
of  the  plans  and  the  purposes  of  the  new  temple  of  art. 
The  undertaking  was  now  fairly  inaugurated.  The  erratic 
King  of  Bavaria  had  from  the  first  been  Wagner's  steadfast 
friend  and  munificent  patron;  but  not  to  him  alone  belongs 
the  credit  of  the  colossal  project  and  its  remarkable  success. 
When  Wagner  first  made  known  his  views,  other  friends, 
among  them  Tausig,  the  eminent  pianist,  at  once  devoted 
themselves  to  his  cause.  In  connection  with  a  lady  of  high 
rank.  Baroness  von  Schleinitz,  he  proposed  to  raise  the  sum 
of  three  hundred  thousand  thalers  by  the  sale  of  patronage 
shares  at  three  hundred  thalers  each,  and  had  already  entered 
upon  the  work  when  his  death  for  the  time  dashed  Wagner's 
hopes.  Other  friends,  however,  now  came  forward.  An  or- 
ganization for  the  promotion  of  the  scheme,  called  the 
"  Richard  Wagner  Society,"  was  started  at  Mannheim.  Not- 
withstanding the  ridicule  which  it  excited,  another  society  was 
formed  at  Vienna.  Similar  societies  began  to  appear  in  all 
the  principal  cities  of  Germany,  and  they  found  imitators  in 
Milan,  Pesth,  Brussels,  London,  and  New  York,  Shares  were 
taken  so  rapidly  that  the  success  of  the  undertaking  was  no 


358  THE    STANDARD    OPERAS 

longer  doubtful.  Meanwhile  the  theatre  itself  was  under 
construction.  It  combined  several  peculiarities,  one  of  the 
most  novel  of  which  was  the  concealment  of  the  orchestra  by 
the  sinking  of  the  floor,  so  that  the  view  of  the  audience 
could  not  be  interrupted  by  the  musicians  and  their  move- 
ments. Private  boxes  were  done  away  with,  the  arrangement 
of  the  seats  being  like  that  of  an  ancient  amphitheatre,  all 
of  them  facing  the  stage.  Two  prosceniums  were  constructed 
which  gave  an  indefinable  sense  of  distance  to  the  stage- 
picture.  To  relieve  the  bare  side  walls,  a  row  of  pillars  was 
planned,  gradually  widening  outward  and  forming  the  end 
of  the  rows  of  seats,  thus  having  the  effect  of  a  third  pro- 
scenium. The  stage  portion  of  the  theatre  was  twice  as  high 
as  the  rest  of  the  building,  for  all  the  scenery  was  both  raised 
and  lowered,  the  incongruity  between  the  two  parts  being 
concealed  by  a  fagade  in  front.  "  Whoever  has  rightly  under- 
stood me,"  says  Wagner,  "  will  readily  perceive  that  archi- 
tecture itself  had  to  acquire  a  new  significance  under  the 
inspiration  of  the  genius  of  Music,  and  thus  that  the  myth 
of  Amphion  building  the  walls  of  Thebes  by  the  notes  of  his 
lyre  has  still  a  meaning." 

The  theatre  was  completed  in  1876,  and  in  the  month  of 
August  (13-16)  Wagner  saw  the  dream  of  his  life  take  the 
form  of  reality.  He  had  everything  at  his  command,  —  a 
theatre  specially  constructed  for  his  purpose;  a  stage  which 
in  size,  scenery,  mechanical  arrangements,  and  general  equip- 
ment, had  not  then  its  equal  in  the  world;  an  array  of  artists 
the  best  that  Europe  could  produce;  an  orchestra  almost 
literally  composed  of  virtuosi.  The  audience  which  gathered 
at  these  performances  —  composed  of  princes,  illustrious  men 
in  every  department  of  science  and  culture,  and  prominent 
musicians  from  all  parts  of  the  world  —  was  one  of  which  any 
composer  might  have  been  proud,  while  the  representation 
itself  marked  an  epoch  in  musical  history,  and  promulgated 
a  new  system  of  laws  which  have  more  or  less  dominated 
operatic  composition  ever  since. 

The  casts  of  the  various  portions  of  the  trilogy  upon  this 
memorable  occasion  were  as  follows: 


WAGNER 


359 


Das  Rheingold  (Prelude) 


Gods 


Giants 


Wotan 

Dormer 

Froh 

Loge 

Fasolt 

Fafner 

Alberich 

Mime 

Fricka  1 

Freia    \  Goddesses 

Erda.  J 

Woglinde  1 

Wellgunde  \  Rhine-daughters 

Flosuhilde  J 


Nibelungs 


Herr  Betz. 

Herr  Gtjra. 

Herr  Unger. 

Herr  Vogl. 

Herr  Eilers. 

Herr  von  Reichenberg. 

Herr  Hill. 

Herr  Schlosser. 

Frau  VON  Grun-Sadler. 

Frl.  Haupt. 

Frau  Jaida. 

Frl.  LiLLi  Lehm.ann. 

Frl.  Marie  Lehmann. 

Frl.  Lammert. 


Die  WALKtJRE 

Siegmund Herr  Niemann. 

Bunding Herr  Niering. 

Wotan Herr  Betz. 

Sieglinde Frl.  Schefzky. 

BriinnhUde Fcau  Friedrich-Materna. 

Fricka Frau  von  Grun-Sadler. 

Siegfried 

Siegfried Herr  Unger. 

Mime Herr  Schlosser. 

Der  Wanderer Herr  Betz. 

Alberich Herr  Hill. 

Fafner Herr  von  Reichenberg. 

Erda Frau  Jaida. 

Brilnnhilde Frau  Friedrich-Materna. 


Die  Gotterdammeuung 

Siegfried Herr  Unger. 

Gunther Herr  Gura. 

Eagen Herr  von  Reichenberg. 

Alberich Herr  Hill. 

BriinnhUde Frau  Friedrich-Materna. 

Outrune Frl.  Weckerlin. 

Waltraute Frau  Jaida. 

The  motive  o£  the  drama  turns  upon  the  possession  of  a 
ring  of  magic  qualities^,  made  of  gold  stolen  from  the  Rhine- 


360  THE    STANDARD    OPERAS 

daughters  by  Alberich^  one  of  the  Nibelungs,  who  dwelt  in 
Nebelheim,   the   place   of  mists.      This   ring,   the   symbol   of 
all  earthly  power,  was   at  the   same  time  to   bring  a  curse 
upon  all  who  possessed  it.     Wotan,  of  the  race  of  the  gods, 
covetous  of  power  and  heedless  of  the  curse  which  follows 
it,  obtained  the  ring  from  Alberich  by  force  and  cunning,  and 
soon  found  himself  involved  in  calamity  from  which  there  was 
no  apparent  escape.     He  himself  could  not  expiate  the  wrong 
he   had   done,  nor   could   he   avert  the   impending  doom,  the 
"  twilight "   of  the   gods,   which   was   slowly   and   surely   ap- 
proaching.    Only  a   free  will,  independent  of  the  gods,  and 
able  to  take  upon  itself  the  fault,  could  make  reparation  for 
the  deed.     At  last  he  yields  to  despair.     His  will  is  broken, 
and  instead  of  fearing  the  inevitable  doom  he  courts  it.     In 
this    sore   emergency   the   hero   appears.      He   belongs   to   an 
heroic  race  of  men,  the  Volsungs.      The  unnatural  union  of 
the  twins,  Siegmund  and  Sieglinde,  bom  of  this  race,  produces 
the  real  hero,   Siegfried.      The  parents   pay  the   penalty   of 
incest   with   their   lives;    but   Siegfried   remains,   and   Wotan 
watches  his  growth  and  magnificent  development  with  eager 
interest.      Siegfried    recovers    the    ring    from   the   giants,   to 
whom  Wotan  had  given  it,  by  slaying  a  dragon  which  guarded 
the  fatal  treasure.     Briinnhilde,  the  Valkyrie,  Wotan's  daugh- 
ter, contrary  to  his  instructions,  had  protected  Siegmund  in 
a  quarrel  which  resulted  in  his  death,  and  was  condemned 
by  the  irate  god  to  fall  into  a  deep  sleep  upon  a  rock  sur- 
rounded  by   flames,   where   she   was   to   remain   until   a   hero 
should  appear  bold  enough  to  break  through  the  wall  of  fire 
and  awaken  her.     Siegfried  rescues  her.     She  wakens  into  the 
full  consciousness  of  passionate  love,  and  yields  herself  to 
the  hero,  who  presents  her  with  the  ring,  but  not  before  it 
has  worked  its  curse  upon  him,  so  that  he,  faithless  even  in 
his  faithfulness,  wounds  her  whom  he  deeply  loves,  and  drives 
her  from  him.     Meanwhile  Gunther,  Gutrune,  and  their  half- 
brother  Hagen  conspire  to  obtain  the  ring  from  Briinnhilde 
and  to  kill  Siegfried.     Through  the  agency  of  a  magic  draught 
he  is  induced  to  desert  her,  after  once  more  getting  the  ring. 
He  then  marries  Gutrune.     The  curse  soon  reaches  its  con- 


Mme.  Amalie  Friedrich-Materna 


Copyright,  Falk 


WAGNER  361 

summation.  One  day,  while  traversing  his  favorite  forests 
on  a  hunting  expedition,  he  is  killed  by  Hagen,  with  Gun- 
ther's  connivance.  The  two  murderers  then  quarrel  for  the 
possession  of  the  ring,  and  Gunther  is  slain.  Hagen  attempts 
to  wrest  it  from  the  dead  hero's  finger,  but  shrinks  back  ter- 
rified as  the  hand  is  raised  in  warning.  Briinnhilde  now 
appears,  takes  the  ring,  and  proclaims  herself  his  true  wife. 
She  mounts  her  steed,  and  dashes  into  the  funeral  pyre  of 
Siegfried  after  returning  the  ring  to  the  Rhine-daughters. 
This  supreme  act  of  immolation  forever  breaks  the  power  of 
the  gods,  as  is  shown  by  the  blazing  Walhalla  in  the  sky;  but 
at  the  same  time  justice  has  been  satisfied,  reparation  has 
been  made  for  the  original  wrong,  and  the  free  will  of  man 
becomes  established  as  a  human  principle. 

Such  are  the  outlines  of  this  great  story,  which  will  be 
told  more  in  detail  when  we  come  to  examine  the  component 
parts  of  the  trilogy.  Dr.  Ludwig  Nohl,  in  his  admirable 
sketch  of  the  Nibelungen  poem,  as  Wagner  adapted  it,  gives 
us  a  hint  of  some  of  its  inner  meanings  in  the  following 
extract:  "  Temporal  power  is  not  the  highest  destiny  of  a 
civilizing  people.  That  our  ancestors  were  conscious  of  this 
is  shown  in  the  fact  that  the  treasure,  or  gold  and  its  power, 
was  transformed  into  the  Holy  Grail.  Worldly  aims  give 
place  to  spiritual  desires.  With  this  interpretation  of  the 
Nibelungen  myth,  Wagner  acknowledged  the  grand  and  eternal 
truth  that  this  life  is  tragic  throughout,  and  that  the  will 
which  would  mould  a  world  to  accord  with  one's  desires  can 
finally  lead  to  no  greater  satisfaction  than  to  break  itself  in 
a  noble  death.  ...  It  is  this  conquering  of  the  world  through 
the  victory  of  self  which  Wagner  conveys  as  the  highest  in- 
terpretation of  our  national  myths.  As  Briinnhilde  approaches 
the  funeral  pyre  to  sacrifice  her  life,  the  only  tie  still  uniting 
her  with  the  earth,  to  Siegfried,  the  beloved  dead,  she  says : 

*To  the  world  I  will  give  now  my  holiest  wisdom; 
Not  goods,  nor  gold  nor  godlike  pomp. 
Not  house,  nor  lands,  nor  lordly  state. 
Not  wicked  plottings  of  crafty  men. 
Not  base  deceits  of  cmming  law,  — 
But,  blest  in  joy  and  sorrow,  let  only  love  remain.'" 


362  ,THE    STANDARD    OPERAS 

We  now  proceed  to  the  analysis  of  the  four  divisions  of 
the  work,  in  which  task,  for  obvious  reasons,  it  will  be 
hardly  possible  to  do  more  than  sketch  the  progress  of  the 
action,  with  allusions  to  its  most  striking  musical  features. 
There  are  no  set  numbers,  as  in  the  Italian  opera;  and 
merely  to  designate  the  leading  motives  and  trace  their  rela- 
tion to  each  other,  to  the  action  of  the  dramatis  personce,  and 
to  the  progress  of  the  four  movements,  not  alone  towards 
their  own  climaxes  but  towards  the  ultimate  denouement, 
would  necessitate  far  more  space  than  can  be  had  in  a  work 
of  this  kind. 


Das  Rheingold 

The  orchestral  prelude  to  "  The  Rhinegold  "  is  based  upon 
a  single  figure,  the  Rhine  motive,  which  in  its  changing  de- 
velopments pictures  the  calm  at  the  bottom  of  the  Rhine  and 
the  undulating  movement  of  the  water.  The  curtain  rises 
and  discloses  the  depths  of  the  river,  from  which  rise  rugged 
ridges  of  rock.  Around  one  of  these,  upon  the  summit  of 
which  glistens  the  Rhinegold,  Woglinde,  a  Rhine-daughter,  is 
swimming.  Two  others,  Wellgunde  and  Flosshilde,  join  her; 
and  as  they  play  about  the  gleaming  gold,  Alberich,  a  dwarf, 
suddenly  appears  from  a  dark  recess  and  passionately  watches 
them.  As  they  are  making  sport  of  him,  his  eye  falls  upon 
the  gold  and  he  determines  to  possess  it.  They  make  light 
of  his  threat,  informing  him  that  whoever  shall  forge  a  ring 
of  this  gold  will  have  secured  universal  power,  but  before 
he  can  obtain  that  power  he  will  have  to  renounce  love.  The 
disclosure  of  the  secret  follows  a  most  exultant  song  of  the 
Undines  ("  Rheingold !  leuchtende  Lust !  wie  lachst  du  so 
hell  und  hehr!").  In  the  announcement  made  by  them  the 
motive  of  the  ring  also  occurs.  The  Rhine-daughters,  who 
have  fancied  that  Alberich  will  never  steal  the  gold  because 
he  is  in  love  with  them,  are  soon  undeceived,  for  he  curses 
love,  and  snatches  the  gold  and  makes  off  with  it,  pursued  by 
the  disconsolate  maidens,  whose  song  changes  into  a  sad  minor. 


Louise  Homer  as  Erda 

Copyright,  Aime DiipoJit 


WAGNER  363 

leading  up  to  the  next  scene.  As  they  follow  him  into  the 
dark  depths  the  stream  sinks  with  them  and  gives  place  to 
an  open  district  with  a  mountain  in  the  background,  upon 
which  is  the  glistening  Walhalla,  which  the  giants  have  just 
built  for  the  gods.  Wotan  and  Fricka  are  discovered  awaken- 
ing from  sleep  and  joyfully  contemplating  it,  the  latter,  how- 
ever, with  much  apprehension  lest  the  giants  shall  claim 
Freia,  the  goddess  of  love,  whom  Wotan  has  promised  to 
them  as  the  reward  for  their  work.  Loge,  the  god  of  fire, 
however,  has  agreed  to  obtain  a  ransom  for  her.  He  has 
searched  the  world  over,  but  has  been  unable  to  find  anything 
that  can  excel  in  value  or  attraction  the  charm  of  love.  As 
the  gods  are  contemplating  their  castle  Loge  appears,  and  in 
a  scene  of  great  power,  accompanied  by  music  which  vividly 
describes  the  element  he  dominates  ("  Immer  ist  Undank 
Loge's  Lohn  "),  he  narrates  the  tidings  of  his  failure.  The 
giants,  however,  have  heard  the  story  of  the  Rhinegold,  and 
as  they  carry  off  the  weeping  Freia  agree  to  release  her 
whenever  the  gods  will  give  to  them  the  precious  and  all- 
powerful  metal.  As  love  departs,  the  heavens  become  dark 
and  sadness  overcomes  the  gods.  They  grow  suddenly  old 
and  decrepit.  Fricka  totters  and  Wotan  yields  to  despair. 
Darkness  and  decay  settle  down  upon  them.  The  divine  wills 
are  broken,  and  they  are  about  to  surrender  to  what  seems 
approaching  dissolution,  when  Wotan  suddenly  arouses  him- 
self and  determines  to  go  in  quest  of  the  all-powerful  gold. 
Loge  accompanies  him,  and  the  two  enter  the  dark  kingdom 
of  the  gnomes,  who  are  constantly  at  work  forging  the  metals. 
By  virtue  of  his  gold  Alberich  has  already  made  himself 
master  of  all  the  gnomes,  but  Wotan  easily  overpowers  him 
and  carries  him  off  to  the  mountain.  The  Nibelung,  however, 
clings  to  his  precious  gold,  and  a  struggle  ensues  for  it.  In 
spite  of  his  strength  and  the  power  the  ring  gives  to  him  it 
is  wrenched  from  him,  and  the  victorious  Wotan  leaves  him 
free  to  return  to  his  gloomy  kingdom.  Infuriated  with  dis- 
appointment over  his  loss  and  rage  at  his  defeat,  Alberich 
curses  the  ring  and  invokes  misfortune  upon  him  who  pos- 
sesses it.     "  May  he  who  has  it  not,  covet  it  with  rage,"  cries 


364  THE    STANDARD    OPERAS 

the  dwarf,  "  and  may  he  who  has  it,  retain  it  with  the  anguish 
of  fear";  and  with  curse  upon  curse  he  disappears.  Now 
that  he  has  the  ring,  Wotan  is  unwilling  to  give  it  up.  The 
other  gods  implore  him  to  do  so,  and  the  giants  demand 
their  ransom.  He  remains  inflexible;  but  at  last  Erda,  the 
ancient  divinity,  to  whom  all  things  are  known,  past,  present, 
and  future,  appears  to  Wotan  and  warns  him  to  surrender 
the  ring.  She  declares  that  all  which  exists  will  have  an  end, 
and  that  a  night  of  gloom  will  come  upon  the  gods.  So  long 
as  he  retains  the  ring  a  curse  will  follow  it.  Her  sinister 
foreboding  so  alarms  him  that  at  last  he  abandons  the  gold. 
Youth,  pride,  and  strength  once  more  return  to  the  gods. 

The  grand  closing  scene  of  the  prelude  now  begins.  Wotan 
attempts  to  enter  Walhalla,  but  it  is  veiled  in  oppressive  mist 
and  heavy  clouds.  The  mighty  Donner,  accompanied  by  Froh, 
climbs  a  high  rock  in  the  valley's  slope  and  brandishes  his 
hammer,  summoning  the  clouds  about  him.  From  out  their 
darkness  its  blov/s  are  heard  descending  upon  the  rock.  Light- 
ning leaps  from  them,  and  thunder-crashes  follow  each  other 
with  deafening  sounds.  The  rain  falls  in  heavy  drops.  Then 
the  clouds  part,  and  reveal  the  two  in  the  midst  of  their 
storm-spell.  In  the  distance  appears  Walhalla  bathed  in  the 
glow  of  the  setting  sun.  From  their  feet  stretches  a  luminous 
rainbow  across  the  valley  to  the  castle,  while  out  from  the 
disappearing  storm  comes  the  sweet  rainbow  melody.  Froh 
sings,  "  Though  built  lightly  it  looks,  fast  and  fit  is  the 
Bridge."  The  gods  are  filled  with  delight,  but  Wotan  gloomily 
contemplates  the  castle  as  the  curse  of  the  ring  recurs  to 
him.  At  last  a  new  thought  comes  in  his  mind.  The  hero 
who  will  make  reparation  is  to  come  from  the  new  race  of 
mortals  of  his  own  begetting.  The  thought  appears  in  the 
sword  motive,  and  as  its  stately  melody  dies  away,  Wotan 
rouses  from  his  contemplation  and  hails  Walhalla  with  joy 
as  "  a  shelter  from  shame  and  harm."  He  takes  Fricka  by 
the  hand,  and  leading  the  way,  followed  by  Froh,  Freia, 
Donner,  and  Loge,  the  last  somewhat  reluctantly,  the  gods 
pass  over  the  rainbow  bridge  and  enter  Walhalla,  bathed  in 
the  light  of  the  setting  sun  and  accompanied  by  the  strains 


WAGNER  365 

of  a  majestic  march.  During  their  passage  the  plaintive  song 
of  the  Rhine-daughters  mourning  their  gold  comes  up  from 
the  depths.  Wotan  pauses  a  moment  and  inquires  the  mean- 
ing of  the  sounds,  and  bids  Loge  send  a  message  to  them  that 
the  treasure  shall  "  gleam  no  more  for  the  maids."  Then 
they  pass  laughingly  and  mockingly  on  through  the  splendor 
to  Walhalla.  The  sad  song  still  rises  from  the  depths  of  the 
Rhine,  but  it  is  overpowered  by  the  strains  of  the  march,  and 
pealing  music  from  the  castle.  The  curtain  falls  upon  their 
laments,  and  the  triumphant  entrance  of  the  gods  into  their 
new  home. 


Die  Walkiire 

In  "  Die  Walkiire,"  the  human  drama  begins.  Strong  races 
of  men  have  come  into  existence,  and  Wotan's  Valkyries  watch 
over  them,  leading  those  who  fall  in  battle  to  Walhalla,  where, 
in  the  gods'  companionship,  they  are  to  pass  a  glorious  life. 
According  to  the  original  legend,  Wotan  blessed  an  unfruitful 
marriage  of  this  i-ace  by  giving  the  pair  an  apple  of  Hulda 
to  eat,  and  the  twins,  Siegmund  and  Sieglinde,  were  the  result 
of  the  union.  When  the  first  act  opens,  Siegmund  has  already 
taken  a  wife  and  Sieglinde  has  married  the  savage  warrior 
Hunding,  but  neither  marriage  has  been  fruitful.  It  is  in- 
troduced with  an  orchestral  prelude  representing  a  storm.  The 
pouring  of  the  rain  is  audible  among  the  violins  and  the 
rumbling  of  the  thunder  in  the  deep  basses.  The  curtain 
rises,  disclosing  the  interior  of  a  rude  hut,  its  roof  supported 
by  the  branches  of  an  ash-tree  whose  trunk  rises  through  the 
centre  of  the  apartment.  As  the  tempest  rages  without,  Sieg- 
mund rushes  in  and  falls  exhausted  by  the  fire.  Attracted 
by  the  noise,  Sieglinde  appears,  and  observing  the  fallen 
stranger  bends  compassionately  over  him  and  offers  him  a 
horn  of  mead.  As  their  eyes  meet  they  watch  each  other  with 
strange  interest  and  growing  emotion.  While  thus  mutually 
fascinated,  Hunding  enters  and  turns  an  inquiring  look  upon 
Sieglinde.      She   explains   that   he  is   a  guest  worn  out  with 


366  THE    STANDARD    OPERAS 

fatigue  and  seeking  shelter.  Hunding  orders  a  repast  and 
Siegmund  tells  his  story.  Vanquished  in  combat  by  a  neigh- 
boring tribe,  some  of  whose  adherents  he  had  slain,  and 
stripped  of  his  arms,  he  fled  through  the  storm  for  refuge. 
Hunding  promises  him  hospitalit}'',  but  challenges  him  to 
combat  on  the  morrow,  for  the  victims  of  Siegmund's  wrath 
were  Hunding's  friends.  As  Sieglinde  retires  at  Hunding's 
bidding,  she  casts  a  despairing,  passionate  look  at  Siegmund, 
and  tries  to  direct  his  attention  to  a  sword  sticking  in  the 
ash-tree,  but  in  vain.  Hunding  warns  her  away  with  a  sig- 
nificant look,  and  then  taking  his  weapons  from  the  tree  leaves 
Siegmund  alone.  The  latter,  sitting  by  the  fire,  falls  into 
dejection,  but  is  soon  roused  by  the  thought  that  his  sire  had 
promised  he  should  find  the  sword  Nothung  in  his  time  of 
direst  need.  The  dying  fire  shoots  out  a  sudden  flame,  and 
his  ej'^e  lights  upon  its  handle,  illuminated  by  the  blaze.  The 
magnificent  sword-melody  is  sounded,  and  in  a  scene  of  great 
jDOwer  he  hails  it  and  sings  his  love  for  Sieglinde,  whom  now 
he  can  rescue.  As  the  fire  and  the  song  die  away  together, 
Sieglinde  reappears.  She  has  drugged  Hunding  into  a  deep 
sleep,  and  in  an  exultant  song  tells  Siegmund  the  story  of 
the  sword.  They  can  be  saved  if  he  is  strong  enough  to 
wrench  it  from  the  trunk  of  the  ash.  He  recognizes  his  sister 
and  folds  her  passionately  in  his  arms.  The  storm  has  passed, 
and  as  the  moonlight  floods  the  room  he  breaks  out  in  one 
of  the  loveliest  melodies  Wagner  has  ever  written,  the  Spring 
song  ("  Winterstiirme  wichen  dem  Wonnemond  "),  a  song  of 
love  leading  to  the  delights  of  Spring;  and  Sieglinde  in  pas- 
sionate response  declares,  "  Thou  art  the  Spring  for  which 
I  longed  in  Winter's  frosty  embrace."  The  recognition  is 
mutual,  not  alone  of  brother  and  sister  but  of  lover  and  mis- 
tress, —  the  union  which  is  destined  to  beget  Siegfried,  the 
hero.  Seizing  her  in  his  arms,  Siegmund  disappears  with 
her  into  the  depths  of  the  forest,  and  the  curtain  falls. 

The  second  act  opens  in  the  mountains  of  the  gods,  and 
discloses  Wotan  with  spear  in  hand  in  earnest  converse  with 
Briirmhilde,  his  daughter,  who  is  arrayed  in  the  armor  of  a 
Valkyrie.     He  tells  her  of  the  approaching  combat,  and  bids 


s 


<n 


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O 


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I 


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u 
O 


s 


WAGNER  367 

her  award  the  victory  to  Siegmund  the  Volsung,  beloved  of 
the  gods.  As  she  disappears  among  the  rocks,  shouting  the 
weird  cry  of  the  Valkyries,  the  jealous  Fricka,  protector  of 
marriage  vows,  comes  upon  the  scene  in  a  chariot  drawn  by 
rams.  A  stormy  dialogue  occurs  between  them,  Fricka  de- 
manding the  death  of  Siegmund  as  compensation  for  the  wrong 
done  to  Hunding.  Wotan  at  last  is  overcome,  and  consents  that 
the  Valkyries  shall  conduct  him  to  Walhalla.  As  he  yields, 
Briinnhilde's  jubilant  song  is  heard  on  the  heights,  and  Wotan 
summons  her  and  announces  his  changed  decision.  Siegmund 
must  perish.  As  he  stalks  gloomily  away  among  the  rocks, 
Briinnhilde  falls  into  deep  dejection,  and  turns  away  moan- 
ing: "Alas!  my  Volsung!  Has  it  come  to  this,  —  that  faith- 
less the  faithful  must  fail  thee  ?  "  As  she  enters  a  cave  for 
her  horse,  the  fugitives  Siegmund  and  Sieglinde  hurriedly 
approach,  pursued  by  the  infuriated  Hunding.  They  stop  to 
rest,  and  Sieglinde  falls  exhausted  in  his  arms.  The  scene 
is  marked  by  alternations  of  passionate  love  and  fear,  hope 
on  the  one  side,  despair  on  the  other,  vividly  portrayed  in  the 
instrumentation.  As  the  music  dies  away  and  Sieglinde  rests 
insensible  in  his  arms,  Briinnhilde,  with  deep  melancholy  in 
her  visage,  shows  herself  to  Siegmund.  In  reply  to  his  ques- 
tion, "Who  art  thou.''"  she  answers,  "He  who  beholds  me, 
to  death  in  the  battle  is  doomed.  I  shall  lead  thee  to  Wal- 
halla." Eagerly  he  asks,  "  Shall  I  find  in  Walhalla  my  own 
father  Walse  ?  "  and  she  answers,  "  The  Volsung  shall  find  his 
father  there."  With  passionate  earnestness  he  asks,  "  Shall 
Siegmund  there  embrace  Sieglinde  ?  "  The  Valkyrie  replies, 
"  The  air  of  earth  she  still  must  breathe.  Sieglinde  shall  not 
see  Siegmund  there."  Siegmund  furiously  answers,  "  Then 
farewell  to  Walhalla !  Where  Sieglinde  lives,  in  bliss  or 
blight,  there  Siegmund  will  also  tarry,"  and  raises  his  sword 
over  his  unconscious  sister.  Moved  by  his  great  love  and 
sorrow,  Briinnhilde  for  the  first  time  is  swayed  by  human 
emotions,  and  exultantly  declares,  "  I  will  protect  thee." 
Hunding's  horn  sounds  in  the  distance,  and  soon  is  heard  his 
defiant  challenge  to  battle.  Siegmund  rushes  to  the  top  of 
one  of  the  cloudy  summits,  and  the  clash  of  their  arms  re- 


368  JHE    STANDARD    OPERAS 

sounds  in  the  mists.  A  sudden  gleam  of  light  shows  Eriinn- 
hilde  hovering  over  Siegmund,  and  protecting  him  with  her 
shield.  As  he  prepares  himself  to  deal  a  deadly  thrust  at 
Hunding,  the  angry  Wotan  appears  in  a  storm-cloud  and  in- 
terposes his  spear.  Siegmund's  sword  is  shivered  to  pieces. 
Hunding  pierces  his  disarmed  enemy,  and  he  falls  mor bally 
wounded.  Briimnhilde  lifts  the  insensible  Sieglinde  upon  her 
steed  and  rides  away  with  her.  Wotan,  leaning  upon  his  spear, 
gazes  sorrowfully  at  the  dying  Volsung,  and  then  turning  to 
Hunding,  so  overcomes  him  with  his  contemptuous  glance  that 
he  falls  dead  at  his  feet.  "  But  Briinnhilde,  woe  to  the  traitor. 
Punisliment  dire  is  due  to  her  treason.  To  horse,  then.  Let 
vengeance  speed  swiftly."  And  mounting  his  steed  he  dis- 
appears amid  thunder  and  lightning. 

The  last  act  opens  in  a  rocky  glen  filled  with  the  Valkyries 
calHng  to  each  other  from  summit  to  summit  with  wild  cries 
as  they  come  riding  through  the  clouds  after  the  combat, 
bearing  the  dead  bodies  of  the  warriors  on  their  saddles. 
The  scene  is  preluded  with  an  orchestral  number,  well  known 
in  the  concert-room  as  the  "  Ride  of  the  Valkyries,"  which  is 
based  upon  two  motives,  the  Valkyries'  call  and  the  Valkyrie 
melody.  In  picturesque  description  of  the  rush  and  dash  of 
steeds,  amid  which  are  heard  the  wild  cries  of  the  sisters, 
"  The  Ride  "  is  vividly  descriptive.  Briinnhilde  arrives  among 
the  exultant  throng  in  tears,  bearing  Sieglinde  with  her.  She 
gives  her  the  fragments  of  Siegmund's  sword,  and  appeals  to 
the  other  Valkyries  to  save  her.  She  bids  Sieglinde  live,  for 
"  thou  art  to  give  birth  to  a  Volsung,"  and  to  keep  the  frag- 
ments of  the  sword.  "  He  that  once  brandishes  the  sword, 
newly  welded,  let  him  be  named  Siegfried,  the  winner  of 
victory."  Wotan's  voice  is  now  heard  angrily  shouting  through 
the  storm-clouds,  and  calling  upon  Briinnhilde,  who  vainly 
seeks  to  conceal  herself  among  her  sisters.  He  summons  her 
forth  from  the  group,  and  she  comes  forward  meekly  but 
firmly  and  awaits  her  punishment.  He  taxes  her  with  violat- 
ing his  commands ;  to  which  she  replies,  "  I  obeyed  not  thy 
order,  but  thy  secret  wish."  The  answer  does  not  avail,  and 
he  condemns  her  to  sleep  by  the  wayside,  the  victim  of  the 


Van  Rooy  as  Wotan 

Copyright,  Aitnf  Dufont 


WAGNER  369 

first  who  passes.  She  passionately  pleads  for  protection 
against  dishonor,  and  the  god  consents.  Placing  her  upon  a 
rocky  couch  and  kissing  her  brow,  he  takes  his  farewell  of 
her  in  a  scene  which  for  majestic  pathos  is  deeply  impres- 
sive. One  forgets  Wotan  and  the  Valkyrie.  It  is  the  last 
parting  of  an  earthly  father  and  daughter,  illustrated  with 
music  which  is  the  very  apotheosis  of  grief.  He  then  conjures 
Loge,  the  god  of  fire ;  and  as  he  strikes  his  spear  upon  the 
rock,  flames  spring  up  all  about  her.  Proudly  he  sings  in  the 
midst  of  the  glare :  — 

"Who  fears  the  spike 
Of  my  spear  to  face. 
He  will  not  pierce  the  planted  fire,"  — 

a  melody  which  is  to  form  the  motive  of  the  hero  Siegfried 
in  the  next  division  of  the  work  —  and  the  curtain  falls  upon 
a  scene  of  extraordinary  power,  beauty,  and  majesty. 


Siegfried 

The  second  division  of  the  tragedy,  "  Siegfried,''  might  well 
be  called  an  idyl  of  the  forest.  Its  music  is  full  of  joyousness 
and  delight.  In  place  of  the  struggles  of  gods  and  combats 
of  fierce  warriors,  the  wild  cries  of  Valkyries  and  the  blend- 
ings  of  human  passions  with  divine  angers,  we  have  the  repose 
and  serenity  of  nature,  and  in  the  midst  of  it  all  appears  the 
hero  Siegfried,  true  child  of  the  woods,  and  as  full  of  wild 
joyousness  and  exultant  strength  as  one  of  the  fauns  or  satyrs. 
It  is  a  wonderful  picture  of  nature,  closing  with  an  ecstatic 
vision  of  love. 

After  the  death  of  Siegmund,  Sieglinde  takes  refuge  in  the 
depths  of  the  forest,  where  she  gives  birth  to  Siegfried.  In 
her  dying  moments  she  intrusts  him  to  Mime,  who  forged  the 
ring  for  Alberich  when  he  obtained  possession  of  the  Rhine- 
gold.  The  young  hero  has  developed  into  a  handsome,  manly 
stripling,  who  dominates  the  forest  and  holds  its  wild  animals 
subject  to  his  will.  He  calls  to  the  birds  and  they  answer 
him.     He  chases  the  deer  with  leaps  as  swift  as  their  own. 


370  THE    STANDARD    OPERAS 

He  seizes  the  bear  and  drags  him  into  Mime's  hut,  much  to 
the  Nibelung's  alarm.  But  while  pursuing  the  wild,  free  life 
in  the  forest,  he  has  dreams  of  greater  conquests  than  those 
over  nature.  Heroic  deeds  shape  themselves  in  his  mind,  and 
sometimes  they  are  illuminated  with  dim  and  mysterious 
visions  of  a  deeper  passion.  In  his  interviews  with  Mime  he 
questions  him  about  the  world  outside  of  the  forest,  its  people 
and  their  actions.  He  tires  of  the  woods,  and  longs  to  get 
away  from  them.  Mime  then  shows  him  the  fragments  of  his 
father's  sword,  which  had  been  shattered  upon  Wotan's  spear, 
the  only  legacy  left  her  son  by  Sieglinde,  and  tells  him  that 
nothing  can  withstand  him  who  can  weld  them  together  again. 
Mime  had  long  tried  to  forge  a  sword  for  Siegfried,  but  they 
were  all  too  brittle,  nor  had  he  the  skill  to  weld  together  the 
fragments  of  Siegmund's  sword,  Nothung.  The  only  one  who 
can  perform  that  task  is  the  hero  without  fear.  One  day 
Siegfried  returns  from  a  hunting  expedition  and  undertakes 
it  himself.  He  files  the  fragments  into  dust  and  throws  it 
into  the  crucible,  which  he  places  on  the  fire  of  the  forge. 
Then  while  blowing  the  bellows  he  sings  a  triumphant  song 
("Nothung!  Nothung!  neidliches  Schwert"),  which  antici- 
pates the  climax  towards  which  all  the  previous  scenes  have 
led.  As  he  sings  at  his  work  Mime  cogitates  how  he  shall 
thwart  his  plans  and  get  possession  of  the  sword.  He  plots 
to  have  him  kill  Fafner,  the  giant,  who  has  changed  himself 
into  a  dragon,  for  the  more  effectual  custody  of  the  Rhine- 
treasure  and  the  ring.  Then  when  Siegfried  has  captured  the 
treasure  he  will  drug  him  with  a  poisoned  drink,  kill  him  with 
the  sword,  and  seize  the  gold.  Siegfried  pours  the  melted 
steel  into  a  mould,  thrusts  it  into  the  water  to  cool,  and  then 
bursts  out  into  a  new  song,  accompanied  by  anvil  blows,  as 
he  forges  and  tempers  it,  the  motive  of  which  has  already 
been  heard  in  the  "  Rhinegold  "  prelude,  when  Alberich  made 
his  threat.  While  Mime  quietly  mixes  his  potion,  Siegfried 
fastens  the  hilt  to  his  blade  and  polishes  the  sword.  Then 
breaking  out  in  a  new  song,  in  which  are  heard  the  motives 
of  the  fire-god  and  the  sword,  he  swings  it  through  the  air, 
and  bringing  it  down  with   force  splits  the  anvil  in  twain. 


Alvary  as  Siegfried  in  "  Siegfried  " 


WAGNER  371 

The  music  accompanying  this  great  scene,  imitating  the  vari- 
ous sounds  of  the  forge,  the  flutter  of  the  fire,  the  hissing  of 
the  water,  the  filing  of  the  sword,  and  the  blows  upon  the 
anvil,  is  realism  carried  to  the  very  extreme  of  possibilities. 

The  great  exploit  has  been  successful,  and  Siegfried  at  last 
has  Siegmund's  sword.  Mime  takes  him  to  the  cave  where 
Fafner,  the  giant-dragon,  guards  the  gold.  Siegfried  slays 
the  monster,  and  laughs  over  the  ease  of  the  task.  His  finger 
is  heated  with  the  dragon's  blood,  and  as  he  puts  it  to  his 
lips  to  cool  it  he  tastes  the  blood,  and  thus  learns  the  language 
of  the  birds.  He  cares  nought  for  the  treasure,  and  takes 
only  the  ring  and  a  magic  helmet,  which  enables  the  wearer 
to  assume  any  shape.  After  the  contest  he  throws  himself 
at  the  foot  of  a  tree  in  the  forest  and  dreamily  listens  to  the 
"  Waldweben,"  the  rustle  and  mysterious  stirrings  of  the 
woods.  Amid  all  these  subtle,  soothing  sounds,  pierced  now 
and  then  with  the  songs  of  the  birds,  and  distant  cries  in  far- 
away sylvan  recesses,  he  realizes  that  he  is  alone,  while  his 
old  companions  of  the  woods  are  together.  He  thinks  of  the 
mother  whom  he  has  never  known,  and  of  that  mysterious 
being  whom  he  has  never  seen,  with  whom  he  could  enjoy 
the  companionship  he  observes  among  the  birds.  The  passion 
of  love  begins  to  assert  itself  vaguely  and  strangely,  but  full 
soon  it  will  glow  out  with  ardent  flame.  A  bird  flying  over 
his  head  sings  to  him.  He  can  understand  its  song  and  fan- 
cies it  his  mother's  voice  coming  to  him  in  the  bird-notes.  It 
tells  him  now  he  has  the  treasure,  he  should  save  the  most 
beautiful  of  women  and  win  her  to  himself.  "  She  sleeps  upon 
a  rock,  encircled  with  flames ;  but  shouldst  thou  dare  to  break 
through  them,  the  warrior-virgin  is  thine."  The  bird  wings 
its  flight  through  the  forest,  and  Siegfried,  joyously  seizing  his 
sword,  follows  it  with  swift  foot,  for  he  knows  it  is  guiding 
him  to  Briinnhilde.  The  time  for  great  deeds  has  come.  The 
wild,  free  life  of  the  forest  is  over. 

The  third  act  once  more  shows  us  the  god  Wotan  still 
plunged  in  gloom.  Gazing  into  a  deep  abyss,  he  summons 
Erda,  who  knows  the  destiny  of  all  the  world,  to  question  her 
again  as  to  the  twilight  of  the  gods.     The  mysterious  figure 


372  THE    STANDARD    OPERAS 

appears  at  his  bidding,  but  has  notliing  further  to  communi- 
cate. Their  doom  is  certain.  The  fearless  race  of  men  is  des- 
tined to  efface  the  gods,  and  Walhalla  must  disappear.  The 
hero  is  at  hand,  and  coming  rapidly.  The  despairing  Wotan, 
who  appears  in  this  scene  as  "  Der  Wanderer  "  (the  wan- 
derer), cries  out,  "  So  be  it.  It  is  to  this  end  I  aspire."  He 
turns  gloomily  away,  and  confronts  Siegfried  bounding  from 
rock  to  rock  like  a  deer,  still  following  his  airy  guide.  The 
god  angrily  tries  to  bar  his  way,  but  in  vain.  His  lance  is  shat- 
tered at  a  single  blow  of  the  sword  Nothung,  which  he  him- 
self had  once  so  easily  shivered.  It  is  the  first  catastrophe 
of  the  final  fate  which  is  approaching.  The  hero  without 
fear  has  come,  the  free  will  of  man  has  begun  to  manifest 
itself.  The  power  of  the  gods  is  breaking.  Joyously  Siegfried 
rushes  on  over  the  rocks.  He  is  soon  bathed  in  the  glow  of 
the  fire,  which  casts  weird  shadows  through  the  wild  glen. 
Now  the  burning  wall  of  red  flames  is  before  him.  With  a 
ringing  cry  of  exultation  he  dashes  through  them,  and  before 
him  lies  the  sleeping  maiden  in  her  glistening  armor.  Mad 
with  her  beauty  and  his  own  overpowering  passion,  he  springs 
to  her  side  and  wakes  her  with  a  kiss.  The  Volsung  and  the 
Valkyrie  gaze  at  each  other  a  long  time  in  silence.  Briinn- 
hilde  strives  to  comprehend  her  situation,  and  to  recall  the 
events  that  led  up  to  her  punishment,  while  love  grows  within 
her  for  the  hero  who  has  rescued  her,  and  Siegfried  is  trans- 
fixed by  the  majesty  of  the  maiden.  As  she  comes  to  herself 
and  fully  realizes  who  is  the  hero  before  her  and  foresees  the 
approaching  doom,  she  earnestly  appeals  to  him: 

"Leave,  ah,  leave, 
Leave  me  unlost, 
Force  on  me  not 
Thy  fiery  nearness. 
Shiver  me  not 
With  thy  shattering  will. 
And  lay  me  not  waste  in  thy  love." 

What  is  preordained  cannot  be  changed.  Siegfried  replies 
with  growing  passion,  and  Briinnhilde  at  last  yields,  and  the 
two  join  in  an  outburst  of  exultant  song: 


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WAGNER  373 

"Away,  Walhalla, 
In  dust  crumble 
Thy  myriad  towers. 
Farewell,  greatness. 
And  gift  of  the  gods. 
You,  Norns,  imravel 
The  rope  of  runes. 
Darken  upwards. 
Dusk  of  the  gods. 
Night  of  annulment. 
Draw  near  with  thy  cloud. 
I  stand  in  sight 
Of  Siegfried's  star. 
For  me  he  was. 
And  for  me  he  will  ever  be." 

With  this  great  duet,  which  is  one  of  the  most  extraor- 
dinary numbers  in  the  trilogy  for  dramatic  power  and  musical 
expression  of  human  emotion,  this  division  closes. 


Die  Gdtterddmmerung 

The  last  division  of  the  tragedy  opens  under  the  shade  of 
a  huge  ash-tree  where  the  three  Fates  sit  spinning  and  weav- 
ing out  human  destinies.  As  they  toss  their  thread  from  one 
to  the  other,  —  the  thread  they  have  been  spinning  since  time 
began,  —  they  foresee  the  gloom  which  is  coming.  Suddenly 
it  snaps  in  their  fingers,  whereupon  the  dark  sisters  crowding 
closely  together  descend  to  the  depths  of  the  earth  to  consult 
with  the  ancient  Erda  and  seek  shelter  near  her.  Mean- 
while as  day  breaks  Siegfried  and  Briinnhilde  emerge  from 
the  glen  where  they  have  been  reposing  in  mutual  happiness. 
Briinnhilde  has  told  her  lover  the  story  of  the  gods  and  the 
secrets  of  the  mystic  runes,  but  he  is  still  unsatisfied.  His 
mission  is  not  yet  fulfilled.  He  must  away  to  perform  new 
deeds.  Before  he  leaves  her  he  gives  her  the  ring  as  his 
pledge  of  fidelity,  and  they  part,  after  exchanging  mutual 
vows  of  love  and  constancy. 

In  his  search  for  further  exploits,  Siegfried  arrives  at  the 
dwelling  of  Gunther,  a  powerful  Rhenish  chief,  head  of  the 


374  THE    STANDARD    OPERAS 

Gibichungen,  another  race  of  heroes,  where  also  resides 
Gutrune,  his  fascinating  sister,  and  the  evil  Hagen,  begotten 
by  Alberich  of  Crimhilda,  Gunther's  mother,  who  was  the 
victim  of  his  gold.  Alberich's  hatred  of  the  gods  and  all 
connected  with  them  is  shared  by  his  son,  who  has  been 
charged  by  the  Nibelung  to  recover  the  gold.  From  this  point 
the  tragic  denouement  rapidly  progresses.  Siegfried's  horn 
is  heard  in  the  distance,  and  he  soon  crosses  Gunther's  thresh- 
old, where  his  ruin  is  being  plotted  by  the  sinister  Hagen. 
He  is  hospitably  received,  and  at  Hagen's  bidding  Gutrune 
pours  out  and  offers  him  a  draught  so  cunningly  mixed  that 
it  Avill  efface  all  past  remembrances.  He  is  completely  in- 
fatuated with  the  girl's  beauty,  and  as  the  potion  takes  effect, 
the  love  for  Briinnhilde  disappears.  He  demands  Gutrune  in 
marriage,  and  Hagen  promises  her  upon  condition  that  he  will 
bring  Briinnhilde  as  a  bride  for  Gunther.  Siegfried  departs 
upon  the  fatal  errand,  and  after  taking  from  her  the  ring 
drags  her  by  force  to  deliver  her  to  Gunther.  The  Valkyrie 
rises  to  a  sublime  height  of  anger  over  her  betrayal,  and 
dooms  Siegfried  to  death  in  the  approaching  hunt,  for  by  death 
alone  she  knows  that  she  can  regain  his  love. 

The  last  act  opens  in  a  rocky  glen  on  the  banks  of  the 
Rhine,  the  ripple  of  whose  waters  is  repeated  in  the  melody 
of  "  The  Rhinegold."  Siegfried  is  separated  from  his  com- 
panion, and  while  alone,  the  song  of  the  Rhine-daughters  is 
heard.  They  rise  to  the  surface  of  the  gleaming  water  and 
demand  their  gold,  but  Siegfried  refuses  to  restore  it.  They 
warn  him  again  to  flee  from  the  curse,  but  he  proudly  ex- 
claims that  his  sword  is  invincible  and  can  crush  the  Norns. 
Sadly  they  float  away  to  the  sound  of  harps  shimmering  over 
the  water.  Gunther's  horn  is  heard  among  the  hills,  and 
Siegfried  exultantly  answers  it.  The  huntsmen  assemble  and 
prepare  for  a  feast.  Siegfried  relates  his  adventure  with  the 
Rhine-daughters,  and  when  Hagen  asks  him  if  it  is  true  that 
he  can  understand  the  language  of  the  birds,  he  tells  the 
whole  story  of  his  life  in  the  "  Rheinfahrt  "  (Rhine  journey), 
—  a  song  built  up  of  all  the  motives  which  have  been  heard 
in  the  "  Siegfried  "  division,  —  the  melody  of  the  sword,  the 


Jean  de  Reszke  as  Siegfried  \x\  *' Die  Gotterdammerung  " 

Copyright^  Aime  Du/>ont 


WAGNER  375 

stir  of  the  woods,  the  song  of  the  mysterious  bird,  Mime's 
enticement,  the  love  of  Briinnhilde,  and  the  flaming  fire  fol- 
lowing each  other  in   rapid  and  brilliant  succession  through 
the  measures  of  the  picturesque  description.     As  the  song  dies 
away,  two  ravens,  messengers  of  ill  omen,  fly  across  the  stage. 
The    curse    motive    sounds    gloomily    through    the    orchestra. 
Hagen   springs   to   his    feet   and   suddenly   and   treacherously 
plunges  his  spear  into  Siegfried's  back,  then  suddenly  turns 
and  disappears  among  the  rocks.     The  hero  falls  to  the  earth 
and  dies  breathing  Briinnhilde's  name,  for  in  the  last  supreme 
moment  the  spell  of  Hagen's  draught  passes  away.     With  his 
last  breath  he  breaks  out  in  a  death-song  of  surpassing  beauty 
and  majesty,  in  which  the  motives  are  those  of  the  Volsung 
and  the  Valkyrie,  as  well  as  of  the  destiny  which  is  to  reunite 
them  in  death.     Once  more  he  murmurs  the  name  of  Briinn- 
hilde,  and  then  his  companions  tenderly  place  him  upon  his 
shield,  and  lifting  him  upon  their  shoulders  carry  him  to  the 
misty  summits  and  disappear  in  the  cloud,  to  the  mighty  and 
impressive  strains  of  a  funeral  march,  built  up  on  the  motives 
of  Siegmiuid,  the  love-duet  of  Siegmund  and   Sieglinde,  the 
sword  and  Volsung's  motives,  and  Siegfried's  great  theme.     In 
the  interweaving  of  these  motives  and  their  sombre  coloring, 
in  massive  fortissimo  and  crescendo  effects,  in  expressive  musi- 
cal delineation,  and  in  majestic  solemnity,  the  Siegfried  funeral 
march  must  take  precedence  of  all  other  dirges.     In  truth  it 
is  a  colossal  and  heroic  funeral  poem  fit  to  celebrate  the  death 
of  a  demigod.      In  the  last  scene   Siegfried's   body  is   borne 
back   to    the    hall    of   the    Gibichungs    amid    loud    lamenting. 
When  Gutrune  learns  what  has  occurred,  she  bitterly  curses 
Hagen  and  throws  herself  on  Siegfried's  corpse.     Hagen  and 
Gunther  quarrel  for  the  possession  of  the  ring,  and  Gunther 
is  slain;    but  when  Hagen  tries  to  take  the  ring,  the  hand 
of   the   dead   hero   is    raised   in   warning.      Then   Briinnhilde 
solemnly  and  proudly  advances  in  the  light  of  the  torches  and 
bids  the  empty  clamor  cease,  for  "  this  is  no  lamenting  worthy 
of  a  hero."     She  orders  a  funeral  pyre  to  be  built,  and  Sieg- 
fried is  laid  thereon.     She  contemplates  the  dead  hero  with 
passionate   love   and  sadness,  and   then   solemnly   turning  to 


376  THE    STANDARD    OPERAS 

those  about  her,  exclaims:  "  Those  who  efface  the  fault  of  the 
gods  are  predestined  to  suffering  and  death.  Let  one  sacrifice 
end  the  curse.  Let  the  Ring  be  purified  by  fire,  the  waters 
dissolve  it  forever.  The  end  of  the  gods  is  at  hand.  But 
though  I  leave  the  world  mastcrless,  I  give  it  this  precious 
treasure.  In  joy  or  in  suffering,  happiness  can  alone  come 
from  love."  She  seizes  a  burning  brand,  and  invoking  Loge, 
god  of  fire,  flings  it  upon  the  pyre.  Her  horse  is  brought  to 
her,  and  she  proudly  mounts  it: 

"Grane,  my  horse. 
Hail  to  thee  here! 
Knowest  thou,  friend. 
How  far  I  shall  need  thee? 
Heiaho!     Grane! 
Greeting  to  him. 
Siegfried!     See,  Briinnhilde 
Joyously  hails  thee,  thy  bride." 

She  swings  herself  upon  her  steed  and  dashes  into  the  furi- 
ous flames.  At  last  they  die  away,  and  the  Rhine  rushes 
forward  from  its  banks  and  covers  the  pyre.  The  exultant 
Rhine-daughters  are  swimming  in  the  flood,  for  Briinnhilde 
has  thrown  them  the  ring.  Hagen  makes  a  last  desperate 
effort  to  clutch  it,  but  Woglinde  and  Wellgunde  Avind  their 
arms  about  him,  and  as  they  drag  him  into  the  depths  Floss- 
hilde  holds  the  ring  above  the  waters,  and  the  exultant  song  of 
the  Rhine-daughters  is  heard  above  the  swelling  tide,  while  far 
in  the  distance  a  red  flame  spreads  among  the  clouds.  Walhalla 
is  blazing  in  the  sky.  The  dusk  of  the  gods  has  come. 
Reparation  has  been  made.  The  hero  without  fear  is  vic- 
torious. Free  will,  independent  of  the  gods,  will  rule  the 
world,  and  the  gods  themselves  are  lost  in  the  human  creation. 
Love  is  given  to  men,  and  conquers  death. 


Parsifal 

"  Parsifal,"    a    "  Buhnenweihfestspiel  "     (festival    acting- 
drama),  words  by  Wagner,  was  concluded  in  1879,  and  first 


<  1 

JS       V.- 


re 
a, 


<  ^ 

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re     >: 

^^ 
a, 


WAGNER  377 

produced  at  Baireuth,  July  22,  1882,  only  about  seven 
months  before  the  distinguished  composer's  death,  with  Mme. 
Friedrich-Materna  as  Kundry,  Herr  Winckelmann  as  Parsifal, 
and  Herr  Scaria  as  Gurnemanz. 

The  theme  of  the  opera  is  taken  from  the  cycle  of  Holy 
Grail  myths  to  which  "  Lohengrin  "  also  belongs.  The  reader 
will  remember  that  Lohengrin  in  his  final  address  declares 
himself  son  of  Parsifal,  the  King  of  the  Grail;  and  it  is  with 
this  Parsifal  that  Wagner's  last  work  is  concerned.  Parsifal, 
like  Siegfried,  represents  free  human  nature  in  its  spontane- 
ous, impulsive  action.  He  is  styled  in  the  text,  "  Der  reine 
Thor  "  (the  guileless  fool),  who,  in  consonance  with  the  old 
mythological  idea,  overcomes  the  evil  principle  and  gains  the 
crown  by  dint  of  pure  natural  impulse.  The  opera  differs 
widely  from  "  The  Nibelung  Ring."  The  composer  has  used 
the  free  instead  of  the  alliterative  form  of  verse,  which  he  then 
contended  was  best  adapted  to  musical  setting.  In  "  The 
Ring  "  the  chorus  is  not  introduced  at  all  until  the  last  division 
is  reached,  while  in  "  Parsifal  "  it  plays  an  important  part  in 
every  act,  in  the  second  scene  of  the  first  act  there  being 
three  choirs  on  the  stage  at  a  time.  Still  there  is  no  trace 
of  the  aria,  the  duet,  or  the  recitative  in  the  Italian  style, 
though  there  is  plenty  of  concerted  music,  which  grows  out 
of  the  dramatic  necessities  of  the  situations.  When  these 
necessities  are  not  urgent  the  music  flows  on  in  dialogue  form, 
as  in  "  The  Ring." 

The  vorspiel  is  based  upon  three  motives  connected  with 
the  mystery  of  the  Grail,  which  forms  the  keynote  of  the  opera, 
though  in  a  different  aspect  from  that  which  the  Grail  as- 
sumes in  "  Lohengrin,"  where  it  can  only  be  visible  to  the  eye 
of  faith,  while  in  "  Parsifal  "  it  distinctly  performs  its  won- 
ders. Let  it  be  remembered  that  the  Grail  is  the  chalice  from 
which  Christ  drank  with  his  disciples  at  the  Last  Supper,  and 
in  which  his  blood  was  received  at  the  cross.  The  first  of 
these  motives  is  of  the  same  general  character  as  the  Grail 
motive  in  the  "Lohengrin"  vorspiel;  the  second  is  an  im- 
pressive phrase  for  trumpets  and  trombones,  which  will  be 
heard  again  when  the  Knights  of  the  Grail  are  summoned  to 


378  THE    STANDARD    OPERAS 

their  duties ;   and  the  third  is  a  broad,  dignified  melody  in  the 
chorale  form. 

The  action  of  the  drama  occurs  in  the  north  of  Spain,  and 
in  the  Vicinity  of  Monsalvat,  the  Castle  of  the  Holy  Grail, 
where  this  chalice  was  brought  by  angels  when  Christianity 
was  in  danger.  The  curtain  rises  upon  a  lovely  forest  glade 
on  the  borders  of  a  lake,  at  daybreak,  and  discovers  the 
Grail  Knight,  Gurnemanz,  and  two  young  shield-bearers, 
guardians  of  the  castle,  sleeping  at  the  foot  of  a  tree. 
Trumpet-calls,  repeating  the  motive  first  heard  in  the  prelude, 
arouse  them  from  their  sleep;  and  as  they  offer  up  their 
morning  prayer  the  chorale  is  heard  again.  As  they  wend 
their  way  to  the  castle,  they  meet  two  knights  preceding  a 
litter  upon  which  the  wounded  Amfortas,  King  of  "the  Grail, 
is  carried.  In  the  subsequent  dialogue  Gurnemanz  tells  the 
story  of  the  King's  mishap.  He  is  suffering  from  a  wound 
which  refuses  to  close,  and  which  has  been  inflicted  by  the 
sacred  spear,  —  the  spear,  according  to  the  legend,  with  which 
our  Saviour's  side  was  pierced,  Klingsor,  a  magician,  had 
aspired  to  become  a  Knight  of  the  Grail,  but  his  application 
was  refused;  for  only  those  of  holy  lives  could  watch  the 
sacred  vessel  and  perform  its  ministrations.  In  revenge, 
Klingsor  studied  the  magic  arts  and  created  for  himself  a 
fairy  palace,  which  he  peopled  with  beautiful  women,  whose 
sole  duty  it  was  to  seduce  the  Knights  of  the  Grail.  One  of 
these  women,  a  mysterious  creature  of  wonderful  fascinations, 
Kundry  by  name,  had  beguiled  Amfortas,  who  thus  fell  into 
the  power  of  Klingsor.  He  lost  his  spear,  and  received  from 
it  a  wound  which  will  never  heal  so  long  as  it  remains  in  the 
hands  of  the  magician.  In  a  vision  he  has  been  told  to  wait 
for  the  one  who  has  been  appointed  to  cure  him.  A  voice 
from  the  Grail  tells  him  the  following  mystery: 

"Durch  Mitleid  wissend, 
Der  reine  Thor, 
Harre  sein' 

Den  ich  erkor."  * 

*  "Let  a  guileless  fool  only,  knowing  by  compassion,  await  him  whom  I 
have  chosen." 


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WAGNER  379 

Meanwhile,  as  the  shield-bearers  are  carrying  Amfortas 
towards  the  lake,  the  savage,  mysterious  Kundry  is  seen 
flying  over  the  fields.  She  overtakes  Gurnemanz  and  gives 
him  a  balm,  saying  that  if  it  will  not  help  the  King,  nothing 
in  Arabia  can,  and  then,  refusing  to  accept  thanks  or  reveal 
her  identity,  sinks  to  the  ground  in  weariness.  The  King 
takes  the  drug  with  gratitude;  but  she  scorns  thanks,  and 
sneers  at  those  about  her  with  savage  irony.  Gurnemanz's 
companions  are  about  to  seize  her,  but  the  old  Knight  warns 
them  that  she  is  living  incarnate  to  expiate  the  sins  of  a  former 
life,  and  that  in  serving  the  Order  of  the  Grail  she  is  pur- 
chasing back  her  own  redemption.  As  Gurnemanz  concludes, 
cries  are  heard  in  the  wood,  and  two  knights,  approaching, 
announce  that  a  swan,  the  bird  sacred  to  the  Grail,  which  was 
winging  its  way  over  the  lake,  and  which  the  King  had  hailed 
as  a  happy  omen,  has  been  shot.  Parsifal,  the  murderer,  is 
dragged  in,  and  when  questioned  by  Gurnemanz,  is  unaware 
that  he  has  committed  any  offence.  To  every  question  he  only 
answers  he  does  not  know.  When  asked  who  is  his  mother, 
Kundry  answers  for  him:  "  His  mother  brought  him  an  orphan 
into  the  world,  and  kept  him  like  a  fool  in  the  forest,  a 
stranger  to  arms,  so  that  he  should  escape  a  premature  death ; 
but  he  fled  from  her  and  followed  the  wild  life  of  nature. 
Her  grief  is  over,  for  she  is  dead."  Whereupon  Parsifal  flies 
at  her  and  seizes  her  by  the  throat;  but  Gurnemanz  holds 
him  back,  and  Kundry  sinks  down  exhausted.  Parsifal  an- 
swers to  the  "  Thor,"  but  it  remains  to  be  seen  whether  he 
is  the  "  reine  Thor."  Gurnemanz  conducts  him  to  the  temple 
where  the  holy  rites  of  the  Grail  are  to  be  performed,  hoping 
he  is  the  redeemer  whom  the  Grail  will  disclose  when  the 
love-feast  of  the  Saviour  is  celebrated. 

The  scene  changes  to  the  great  hall  of  the  castle  and  the 
celebration  of  the  feast  of  the  Grail.  The  scene  is  introduced 
with  a  solemn  march  by  full  orchestra,  including  trombones 
on  the  stage,  accompanied  by  the  clanging  of  bells  as  the 
Knights  enter  in  stately  procession.  They  sing  a  pious  chant 
in  unison,  the  march  theme  still  sounding.  As  the  younger 
squires  and  pages  enter,  a  new  melody  is  taken  in  three-part 


380  THE    STANDARD    OPERAS 

harmony,  and  finally  an  unseen  chorus  of  hojs  from  the  ex- 
treme height  of  the  dome  sing  the  chorale  from  the  introduc- 
tion, without  accompaniment,  in  imitation  of  angel  voices. 
The  shield-bearers  bring  in  Amfortas  upon  his  litter,  when 
suddenly  from  a  vaulted  niche  is  heard  the  voice  of  Titurel, 
Amfortas's  aged  father,  and  the  founder  of  Monsalvat,  now 
too  feeble  to  perform  the  holy  offices,  bidding  the  Grail  to 
be  uncovered.  Amfortas,  mourning  that  he,  the  unholiest  of 
them,  should  be  called,  opens  a  golden  shrine  and  takes  out 
the  crystal  vessel.  Darkness  falls  upon  the  hall,  but  the 
Grail  is  illuminated  with  constantly  increasing  brilliancy, 
while  from  the  dome  the  children's  voices  sing,  "  Take  My 
blood  in  the  name  of  our  love,  and  take  My  body  in  remem- 
brance of  Me."  Parsifal  watches  the  scene  with  bewildered 
eyes,  but  upon  saying  in  reply  that  he  does  not  understand 
the  holy  rite,  he  is  contemptuously  ejected  from  the  place. 

The  second  act  reveals  Klingsor's  enchanted  palace.  The 
magician,  gazing  into  a  mirror,  sees  Parsifal  approaching, 
and  knows  he  is  the  redeemer  who  has  been  promised.  He 
summons  Kundry  before  him,  and  commands  her  to  tempt  him 
with  her  spells.  She  struggles  against  the  task,  for  in  her 
soul  the  powers  of  good  and  evil  are  always  contending  for 
the  mastery.  She  longs  for  eternal  sleep,  and  rest  from  her 
evil  passions,  but  Klingsor  holds  her  in  his  power.  Parsifal 
enters,  and  the  scene  changes  to  a  delightful  garden  filled 
with  girls  of  ravishing  beauty  in  garments  of  flowers.  They 
crowd  about  him,  and  by  their  fascinating  blandishments  seek 
to  gain  his  love,  but  in  vain.  He  is  still  the  "  guileless  fool." 
Then  Kundry  appears  in  all  her  loveliness,  and  calls  him  by 
name,  —  the  name  he  had  heard  his  mother  speak.  He  sor- 
rowfully sinks  at  Kundry's  feet.  The  enchantress  bends  over 
him,  appeals  to  him  through  his  longing  for  his  mother,  and 
kisses  him.  Instantly  he  comprehends  all  that  he  has  seen, 
and  he  cries,  "  The  wound  burns  in  my  heart,  oh,  torment 
of  love !  "  Then,  quickly  rising,  he  spurns  her  from  him. 
He  has  gained  the  world-knowledge.  She  flies  to  him  again, 
aed  passionately  exclaims,  "  The  gift  of  my  love  would  make 
thee  divine.     If  this  hour  has  made  thee  the  redeemer,  let  me 


Olive  Fremstad  as  Kuiidry 

Copyright^  Aiine  Dupont 


WAGNER  381 

suffer  forever,  but  give  me  thy  love."  He  spurns  her  again, 
and  cries,  "  To  all  eternity  thou  wouldst  be  damned  with  me, 
if  for  one  hour  I  should  forget  my  mission,"  but  says  he  will 
save  her  too,  and  demands  to  know  the  way  to  Amfortas.  In 
rage  she  declares  he  shall  never  find  it,  and  summons  the 
help  of  Klingsor,  who  hurls  the  sacred  lance  at  Parsifal. 
The  weapon  remains  suspended  over  his  head.  He  seizes  it 
and  makes  the  sign  of  the  cross.  The  gardens  and  castle 
disappear.  Parsifal  and  Kundry  are  alone  in  a  desert.  She 
sinks  to  the  ground  with  a  mournful  cry,  and  turning  from 
her,  his  last  Avords  are,  "  Thou  knowest  where  only  thou  canst 
see  me  again." 

In  the  third  act  we  are  again  in  the  land  of  the  Grail. 
Parsifal  has  wandered  for  years  trying  to  find  Monsalvat, 
and  at  last  encounters  Gurnemanz,  now  a  very  old  man,  living 
as  a  hermit  near  a  forest  spring,  and  the  saddened  Kundry 
is  serving  him.  It  is  the  Good  Friday  morning,  and  forests 
and  fields  are  bright  with  flowers  and  the  verdure  of  spring. 
Gurnemanz  recognizes  him,  and  in  reply  to  his  question  what 
makes  the  world  so  beautiful,  the  aged  knight  makes  answer: 

"  The  sad  repentant  tears  of  sinners 
Have  here  with  holy  rain 
Besprinkled  field  and  plain. 
And  made  them  glow  with  beauty. 

All  earthly  creatures  in  delight 

At  the  Redeemer's  trace  so  bright. 
Uplift  their  prayers  of  duty. 
And  now  perceive  each  blade  and  meadow  flower. 
That  mortal  foot  to-day  it  need  not  dread." 

Kundry  washes  "  the  dust  of  his  long  wanderings  "  from 
his  feet,  and  looks  up  at  him  with  earnest  and  beseeching 
gaze.  Gurnemanz  recognizes  the  sacred  spear,  hails  him  as 
the  King  of  the  Grail,  and  offers  to  conduct  him  to  the  great 
hall  where  the  holy  rites  are  once  more  to  be  performed. 
Before  they  leave,  Parsifal's  first  act  as  the  redeemer  is  to 
baptize  Kundry  with  water  from  the  spring.  The  sound  of 
tolling  bells  in  the  distance  announces  the  funeral  of  Titurel, 
and   the   scene  changes   to   the   hall   where   the   Knights   are 


382  THE    STANDARD    OPERAS 

carrying  the  litter  upon  which  Amfortas  lies,  awaiting  the 
funeral  procession  approaching  to  the  strains  of  a  solemn 
march.  The  Knights  demand  he  shall  again  uncover  the  Grail, 
but  he  refuses,  and  calls  upon  them  to  destroy  him,  and  then 
the  Grail  will  shine  brightly  for  them  again.  Unobserved  by 
them,  Parsifal  steps  forward,  touches  the  King's  wound  with 
the  spear,  and  it  is  immediately  healed.  Then  he  proclaims 
himself  King  of  the  Grail,  and  orders  it  to  be  uncovered. 
As  Amfortas  and  Gurnemanz  kneel  to  do  him  homage,  Kundry 
dies  at  his  feet  in  the  joy  of  repentance.  Titurel  rises  from 
his  coffin  and  bestows  a  benediction.  Parsifal  ascends  to  the 
altar  and  raises  the  Grail  in  all  its  resplendent  beauty.  A 
white  dove  flies  down  from  the  dome  of  the  hall  and  hovers 
over  his  head,  while  the  Knights  chant  their  praise  to  God, 
reechoed  by  the  singers  in  the  dome,  whose  strains  sound  like 
celestial  voices: 

"  Miracle  of  supreme  blessing, 
Redemption  to  the  Redeemer. " 


WALLACE    (WILLIAM    VINCENT) 

Maritana 

MARITANA,"  romantic  opera  in  three  acts,  words  by 
Fitzball,  founded  upon  the  well-known  play  of  "  Don 
Ceesar  de  Bazan,"  was  first  produced  at  Drury  Lane,  London, 
November  15,  1845,  and  in  New  York,  May  4,  1848.  The 
original  cast  was  as  follows : 

Maritana Miss  Romeb. 

Don  CcEsar Mr.  Harrison. 

Lazarillo Miss  Poole. 

Don  JosS • Mr.  Borrain. 

King Mr.  Phillips. 

The  text  follows  that  of  the  drama.  The  first  act  opens 
in  a  public  square  of  Madrid,  where  a  band  of  gypsies  are 
singing  to  the  populace,  among  them  Maritana,  a  young  girl 
of  more  than  ordinary  beauty  and  vocal  accomplishments. 
Among  the  spectators  is  the  young  King  Charles,  who  after 
listening  to  her  is  smitten  with  her  charms.  Don  Jose,  his 
minister,  to  carry  out  certain  ambitious  plans  of  his  own, 
resolves  to  encourage  the  fascinations  which  have  so  attracted 
the  King,  He  extols  her  beauty  and  arouses  hopes  in  her 
breast  of  future  grandeur  and  prosperity.  At  this  juncture 
Don  Caesar  de  Bazan,  a  reckless,  rollicking  cavalier,  comes 
reeling  out  of  a  tavern  where  he  has  just  parted  with  the  last 
of  his  money  to  gamblers.  In  spite  of  his  shabby  costume  and 
dissipated  appearance  he  bears  the  marks  of  high  breeding. 
In  better  days  he  had  been  a  friend  of  Don  Jose.  While 
he  is  relating  the  story  of  his  downward  career  to  the  minis- 
ter, Lazarillo,  a  forlorn  young  lad  who  has  just  attempted 
to  destroy  himself,  accosts  Don  Caesar,  and  tells  him  a  pite- 


384  THE    STANDARD    OPERAS 

ous  tale  of  his  wrongs.  Don  Csesar  befriends  him,  and  in 
consequence  becomes  involved  in  a  duel,  which  leads  to  his 
arrest;  for  it  is  Holy  Week,  and  duelling  during  that  time  has 
been  forbidden  on  pain  of  death.  While  Don  Caesar  is  on  his 
way  to  prison,  Don  Jose  delights  Maritana  by  promising  her 
wealth,  a  splendid  marriage,  and  an  introduction  to  the  court 
on  the  morrow. 

The  second  act  opens  in  the  prison,  and  discovers  Don 
Caesar  asleep,  with  his  faithful  little  friend  watching  by  him. 
It  is  five  o'clock  when  he  wakes,  and  at  seven  he  must  die. 
Only  two  hours  of  life  remain  for  him,  but  the  prospect  does 
not  disturb  him.  On  the  other  hand  he  is  gayer  than  usual, 
and  rallies  Lazarillo  with  playful  mirth.  In  the  midst  of  his 
gayety  the  crafty  Don  Jose  enters  and  professes  strong  friend- 
ship for  him.  When  Don  Caesar  declares  that  he  has  but 
one  last  wish,  and  that  is  to  die  a  soldier's  death  instead 
of  being  ignominiously  hanged,  Don  Jose  says  it  shall  be 
gratified  upon  condition  that  he  will  marry.  The  prisoner 
has  but  an  hour  and  three  quarters  to  live,  but  he  consents. 
He  is  provided  with  wedding  apparel,  and  a  banquet  is  spread 
in  honor  of  the  occasion.  During  the  feast  Lazarillo  brings 
in  a  paper  to  Don  Jose  containing  the  King's  pardon  for 
Don  Csesar,  but  the  minister  promptly  conceals  it.  Maritana, 
her  features  disguised  by  a  veil,  is  introduced,  and  as  the 
nuptial  rites  are  performed  the  soldiers  prepare  to  execute 
the  penalty.  At  the  expiration  of  the  hour  Don  Caesar  is 
led  out  to  meet  his  fate,  but  Lazarillo  has  managed  to  ex- 
tract the  balls  from  the  guns.  The  soldiers  perform  their 
duty,  and  Don  Caesar  feigns  death;  but  as  soon  as  the 
opportunity  occurs,  he  leaves  the  prison  and  hurries  to  a 
grand  ball  given  by  the  Marquis  and  Marchioness  de  Monte- 
fiori  at  their  palace,  while  the  Marquis,  who  has  his  instruc- 
tions from  Don  Jose  to  recognize  Maritana  as  his  long-lost 
niece,  is  introducing  her  as  such.  Don  Caesar  enters  and 
demands  his  bride.  The  astonished  Don  Jose,  perceiving  that 
his  scheme  to  introduce  Maritana  at  court  is  liable  to  be 
frustrated,  offers  the  Marquis  a  rich  appointment  if  he  will 
induce  his  wife  to  play  the  part  he  shall  suggest.     The  scheme 


WALLACE  385 

is  soon  arranged,  and  the  Marchioness,  closely  veiled,  is 
presented  to  Don  Ceesar  as  the  Countess  de  Bazan.  Dis- 
gusted at  "  the  precious  piece  of  antiquity,"  as  he  terms  her, 
and  fancying  that  he  has  been  duped,  he  is  about  to  sign  a 
paper  relinquishing  his  bride,  when  he  suddenly  hears  Mari- 
tana's  voice.  He  recognizes  it  as  the  same  he  had  heard 
during  the  marriage  rites.  He  rushes  forward  to  claim  her, 
but  she  is  quickly  carried  away,  and  he  is  prevented  from 
following. 

The  last  act  opens  in  a  palace  belonging  to  the  King,  where 
Maritana  is  surrounded  with  luxury,  though  she  is  as  yet 
unaware  that  she  is  in  the  royal  apartments.  Don  Jose, 
fancying  that  Don  Caesar  will  not  dare  to  make  his  appear- 
ance, as  he  does  not  know  of  his  pardon,  carries  out  his  plot 
by  introducing  the  King  to  her  as  her  husband.  She  at  first 
rejects  him,  and  as  he  presses  his  suit  Don  Caesar  breaks 
into  the  apartment.  The  King  in  a  rage  demands  to  know 
his  errand.  He  replies  that  he  is  in  quest  of  the  Countess 
de  Bazan,  and  with  equal  rage  inquires  who  he  (the  King) 
is.  The  King  in  confusion  answers  that  he  is  Don  Caesar, 
whereupon  the  latter  promptly  replies,  "  Then  I  am  the  King 
of  Spain."  Before  further  explanation  can  be  made,  a  mes- 
senger arrives  from  the  Queen  with  the  announcement  that 
she  awaits  the  King.  After  his  departure  Don  Caesar  and 
Maritana  mutually  recognize  each  other,  and  upon  her  ad- 
vice he  resolves  to  appeal  to  the  Queen  to  save  her.  He 
waits  for  her  Majesty  in  the  palace  garden,  and  while  con- 
cealed, overhears  Don  Jose  informing  her  that  the  King  will 
meet  his  mistress  that  night.  He  springs  out,  and  denouncing 
him  as  a  traitor  to  his  King  slays  him,  and  then  returning 
to  Maritana's  apartment  finds  the  King  there  again,  and  tells 
him  what  has  occurred.  He  has  saved  the  King's  honor; 
will  the  King  destroy  his?  The  monarch,  overcome  with 
Don  Caesar's  gallantry  and  loyalty,  consigns  Maritana  to  him 
and  appoints  him  Governor  of  Granada.  The  appointment 
does  not  suit  Don  Caesar,  for  Granada  is  too  near  his  creditors. 
The  King,  laughing,  changes  it  to  Valencia,  a  hundred  leagues 
away,  and  thither  Don  Caesar  conducts  his  happy  bride. 


386  THE    STANDARD    OPERAS 

The  drama  is  one  which  is  well  adapted  to  bright,  cheer- 
ful, melodious  music,  and  the  opportunity  has  been  well 
improved,  for  "  Maritana "  is  one  of  the  sprightliest  and 
brightest  of  all  the  English  operas,  and  contains  several  ballads 
which  for  beauty  and  expressiveness  may  well  challenge  any 
that  Balfe  has  written.  The  principal  numbers  in  the  first 
act  are  Maritana's  opening  song  in  the  public  square  ("  It 
was  a  Knight  of  princely  Mien  ")  ;  the  romanza  which  she 
subsequently  sings  for  Don  Jose  ("  I  hear  it  again,  'tis  the 
Harp  in  the  Air"),  which  is  one  of  the  sweetest  and  most 
delicate  songs  in  any  of  the  lighter  operas;  the  duet  between 
Maritana  and  Don  Jose  ("  Of  fairy  Wand  had  I  the  Power  ")  ; 
Don  Caesar's  rollicking  drinking-song  ("  All  the  World  over, 
to  love,  to  drink,  to  fight,  I  delight");  and  the  tripping 
chorus  ("Pretty  Gitana,  tell  us  what  the  Fates  decree"), 
leading  up  to  the  stirring  ensemble  in  the  finale,  when  Don 
Caesar  is  arrested.  The  first  scene  of  the  second  act  is  the 
richest  in  popular  numbers,  containing  an  aria  for  alto, 
Lazarillo's  song  ("  Alas  !  those  Chimes  so  sweetly  pealing  ")  ; 
a  charming  trio  for  Don  Caesar,  Lazarillo,  and  Don  Jose 
("  Turn  on,  old  Time,  thine  Hour-glass  ") ;  Don  Caesar's 
stirring  martial  song  ("  Yes,  let  me  like  a  Soldier  fall  ")  ; 
the  serious  ballad  ("  In  happy  Moments,  Day  by  Day "), 
written  by  Alfred  Bunn,  who  wrote  so  many  of  the  Balfe 
ballads ;  and  the  quartet  and  chorus  closing  the  scene 
("Health  to  the  Lady,  the  lovely  Bride!").  The  second 
scene  opens  with  a  pretty  chorus  in  waltz  time  ("  Ah,  what 
Pleasure!  the  soft  Guitar"),  followed  by  an  aria  sung  by 
the  King  ("  The  Mariner  in  his  Bark  "),  and  introduced  by 
an  attractive  violin  prelude.  The  finale  is  a  dramatic  en- 
semble, quintet,  and  chorus  ("What  Mystery  must  now  con- 
trol ").  The  last  act  falls  off  in  musical  interest,  though  it 
is  very  strong  dramatically.  It  contains  a  few  numbers,  how- 
ever, which  are  very  popular;  among  them  one  of  the  most 
admired  of  all  English  songs  ("  Scenes  that  are  brightest"), 
which  Maritana  sings  in  the  King's  apartments  at  the  be- 
ginning of  the  act;  the  humorous  duet  between  the  King 
and    Don    Caesar    when   they    meet;     the    love    duet   between 


WALLACE  387 

Don  Csesar  and  Maritana  ("  This  Heart  with  Bliss  o'erflow- 
ing ") ;  and  Don  Cesar's  song  ("  There  is  a  Flower  that 
bloometh"),  which  is  in  the  sentimental  ballad  style.  The 
freshness,  brightness,  and  gracefulness  of  the  music  of  this 
little  opera,  combined  with  the  unusual  interest  and  delicate 
humor  of  the  story,  have  always  commended  it  to  popular 
admiration. 


<< 


WEBER    (CARL    MARIA   VON) 

Der  Freischiitz 

DER  Freischiitz,"  romantic  opera  in  three  acts,  words 
by  Friedrich  Kind,  was  first  produced  at  Berlin,  June 
18,  1821.  It  is  one  of  the  most  popular  operas  in  the  modern 
repertory.  It  was  first  performed  in  Paris,  December  7, 
1824,  as  "  Robin  des  Bois,"  with  a  new  libretto  by  Castile 
Blaze  and  Sauvage,  and  many  changes  in  the  score,  such  as 
divertisements  made  up  of  the  dance  music  in  "  Preciosa  " 
and  "  Oberon,"  and  of  "  The  Invitation  to  the  Dance,"  scored 
by  Berlioz.  In  1841  it  was  again  given  in  Paris,  with  an 
accurate  translation  of  the  text  by  Pacini,  and  recitatives 
added  by  Berlioz,  as  "  Le  Franc  Archer."  Its  first  English 
performance  in  London  was  given  July  22,  1824,  as  "Der 
Freischiitz,  or,  The  Seventh  Bullet,"  with  several  ballads  in- 
serted; and  its  first  Italian  at  Covent  Garden,  March  16, 
1850,  with  recitatives  by  Costa,  as  "  II  Franco  Arciero." 
It  was  first  represented  in  New  York,  March  3,  1825.  It 
was  so  popular  in  England  in  1824  that  no  less  than  nine 
theatres  were  presenting  various  versions  of  it  at  the  same 
time.     The  original  cast  was  as  follows: 

Agatha Frau  Caholine  Seidleb. 

Anncken Frl.  Johanna  Eunike. 

Max Herr  Carl  SttJmer. 

Caspar Herr  Heineich  Blume. 

Ottakar Herr  Rubinstein. 

Kuno Herr  Waner. 

Hermit Herr  Gern. 

Kilian Herr  Wiedemann. 

The  text  of  the  opera  is  taken  from  a  story  in  "  Popular 
Tales    of   the    Northern   Nations,"    and    is    founded   upon    a 


WEBER  389 

traditional  belief  that  a  demon  of  the  forest  furnishes  a 
marksman  with  unerring  bullets  east  under  magical  influ- 
ences. Kuno,  the  head  ranger  to  the  Prince  of  Bohemia,  too 
old  longer  to  continue  in  his  position,  recommends  Max,  a 
skilful  marksman,  who  is  betrothed  to  his  daughter  Agatha, 
as  his  successor.  The  Prince  agrees  to  accept  him  if  he 
proves  himself  victor  at  the  forthcoming  hunting-match. 
Caspar,  the  master-villain  of  the  play,  who  has  sold  himself 
to  the  demon  Zamiel,  and  who  also  is  in  love  with  Agatha, 
forms  a  plot  to  ruin  Max  and  deliver  him  over  to  Zamiel 
as  a  substitute  for  himself,  for  the  limit  of  his  contract  with 
the  Evil  One  is  close  at  hand.  With  Zamiel's  aid  he  causes 
Max  to  miss  the  mark  several  times  during  the  rehearsals 
for  the  match.  The  lover  is  thrown  into  deep  dejection  by 
his  ill  luck,  and  while  in  this  melancholy  condition  is  cun- 
ningly approached  by  Caspar,  who  says  to  him  that  if  he  will 
but  repeat  the  formula,  "  In  the  name  of  Zamiel,"  he  will  be 
successful.  He  does  so,  and  brings  down  an  eagle  soaring 
high  above  him.  Elated  with  his  success,  Caspar  easily  per- 
suades him  that  he  can  win  the  match  if  he  will  meet  him 
at  midnight  in  the  Wolf's  Glen,  where  with  Zamiel's  aid  he 
can  obtain  plenty  of  magic  bullets. 

The  second  act  opens  in  Kuno's  house,  and  discloses  Agatha 
in  melancholy  mood  as  she  forebodes  coming  evil.  A  hermit 
whom  she  has  met  in  the  woods  has  warned  her  of  danger, 
and  given  her  a  wreath  of  magic  roses  to  ward  it  off.  An 
ancestral  portrait  falling  from  the  walls  also  disturbs  her ; 
and  at  last  the  appearance  of  the  melancholy  Max  confirms 
her  belief  that  trouble  is  in  store  for  her.  Max  himself  is 
no  less  concerned.  All  sorts  of  strange  sounds  have  troubled 
him,  and  his  slumbers  have  been  invaded  with  apparitions. 
Nevertheless,  he  goes  to  the  Wolf's  Glen;  and  though  spec- 
tres, skeletons,  and  various  grotesque  animals  terrify  him, 
and  his  mother's  spirit  appears  and  warns  him  away,  he 
overcomes  his  fright  and  appears  with  Caspar  at  the  place  of 
incantation.  Zamiel  is  summoned,  and  seven  bullets  are  cast, 
six  of  which  are  to  be  used  by  Max  himself  in  the  forth- 
coming match,  while  the  seventh  will  be  at  the  disposal  of 


390  THE    STANDARD    OPERAS 

the  demon.  Little  dreaming  the  fate  which  hangs  upon  the 
seventh,  Caspar  offers  no  objections. 

The  third  act  opens,  like  the  second,  in  Kuno's  house,  and 
discovers  Agatha  preparing  for  her  nuptials,  and  telling 
Annchen  a  singular  dream  she  has  had.  She  had  fancied 
herself  a  dove,  and  that  Max  fired  at  her.  As  the  bird  fell 
she  came  to  herself  and  saw  that  the  dove  had  changed  to 
a  fierce  bird  of  ill  omen  which  lay  dying  at  her  feet.  The 
melancholy  produced  by  the  dream  is  still  further  heightened 
when  it  is  found  that  a  funeral  instead  of  a  bridal  wreath 
has  been  made  for  her;  but  her  heart  lightens  up  again  as 
she  remembers  the  magic  rose-wreath  which  the  hermit  had 
enjoined  her  to  wear  on  her  wedding  day.  At  last  the  event- 
ful day  of  trial  comes,  and  the  Prince  and  all  his  courtiers 
assemble  to  witness  the  match.  Max  makes  six  shots  in  suc- 
cession which  go  home  to  the  mark.  At  the  Prince's  command 
he  fires  the  seventh,  Zamiel's  bullet,  at  a  dove  flying  past. 
As  he  fires,  Agatha  appears  to  him  as  the  dove,  and  he 
fancies  he  has  slain  her.  The  wreath  protects  her,  how- 
ever, and  Zamiel  directs  the  bullet  to  Caspar's  heart.  The 
demon  claims  his  victim,  and  Max  his  bride,  amid  general 
re  j  oicing. 

The  overture,  which  is  one  of  the  most  favorite  numbers 
of  its  class  in  the  concert  room  as  well  as  in  the  opera  house, 
is  a  masterpiece  of  brilliant  and  descriptive  instrumentation, 
and  furnishes  us  with  a  key  to  the  whole  story  in  its  an- 
nouncement of  the  leading  themes.  It  opens  with  an  adagio 
horn  passage  of  great  beauty,  giving  us  the  groundwork  of 
the  entire  action;  and  then  follow  motives  from  Max's  grand 
scena  in  the  first  act,  the  Incantation  music,  Agatha's  moon- 
light scene,  and  other  episodes  connected  with  the  action  of 
Max  and  Caspar.  Indeed,  the  frequent  and  expressive  use 
of  the  Leit  motif  all  through  the  work  seems  to  entitle  Weber 
to  the  credit  of  its  invention. 

The  first  act  opens  with  a  spirited  chorus  of  villagers, 
followed  by  a  lively  march  and  a  comic  song  by  Kilian,  in 
which  he  rallies  Max  upon  his  bad  luck.  The  next  number 
is   a   trio   and   chorus,   with   solos    for   the   principals,   Max, 


WEBER  391 

Kuno,  and  Caspar  ("  O  diese  Sonne,  furchtbar  steigt  sie  mir 
empor").  Max  laments  his  fate,  but  Kuno  encourages  him, 
while  Caspar  insinuates  his  evil  plot.  The  trio  is  of  a  sombre 
cast  at  the  beginning,  but  as  it  progresses,  the  horns  and  an 
expressive  combination  of  the  chorus  give  it  a  cheerful  charac- 
ter. It  is  once  more  disturbed,  however,  by  Caspar's  ominous 
phrases,  but  at  last  Kuno  and  his  men  cheer  up  the  despondent 
lover  with  a  brisk  hunting-chorus,  and  the  villagers  dance  off 
to  a  lively  waltz  tempo.  Max  is  left  alone,  and  the  next 
number  is  a  grand  tenor  scene.  It  opens  with  a  gloomy  reci- 
tative, which  lights  up  as  he  thinks  of  Agatha,  and  then  passes 
into  one  of  the  most  tender  and  delicious  of  melodies  ("  Durch 
die  Walder,  durch  die  Auen  "),  set  to  a  beautiful  accompani- 
ment. Suddenly  the  harmony  is  clouded  by  the  apparition 
of  Zamiel,  but  as  he  disappears.  Max  begins  another  charming 
melody  ("  Jetzt  ist  wohl  ihr  Fenster  otfen  "),  which  is  even 
more  beautiful  than  the  first.  As  Zamiel  reappears  the  har- 
mony is  again  darkened;  but  when  despairing  Max  utters 
the  cry,  "  Lives  there  no  God !  "  the  wood-demon  disappears, 
and  the  great  song  comes  to  an  end.  In  this  mood  Caspar 
meets  him,  and  seeks  to  cheer  him  with  an  hilarious  drinking- 
song  ("  Hier  im  ird'schen  Jammerthal  "),  furious  in  its  energy, 
and  intended  to  express  unhallowed  mirth.  The  act  closes 
with  Caspar's  bass  aria  of  infernal  triumph  ("  Triumph !  die 
Rache,  die  Rache  gelingt"),  accompanied  by  music  which  is 
weird  and  shadowy  in  its  suggestions. 

The  second  act  opens  with  a  duet  ("Schelm!  halt  fest") 
in  which  Agatha's  fear  and  anxiety  are  charmingly  contrasted 
with  the  lightsome  and  cheery  nature  of  Annchen,  her  at- 
tendant, and  this  in  turn  is  followed  by  a  naive  and  coquettish 
arietta  ("  Kommt  ein  schlanker  Bursch  gegangen  ")  sung  by 
the  latter.  Annchen  departs,  and  Agatha,  opening  her  window 
and  letting  the  moonlight  flood  the  room,  sings  the  famous 
scena  and  prayer  ("  Leise,  leise,  fromme  Weise"),  beginning, 
after  a  few  bars  of  recitative,  with  a  melody  full  of  prayer 
and  hope  and  tender  longings,  shaded  with  vague  presenti- 
ment. It  is  an  adagio  of  exquisite  beauty,  closing  with  an 
ecstatic  outburst  of  rapture   ("  Alle  meine  Pulse  schlagen  ") 


392  THE    STANDARD    OPERAS 

as  she  beholds  her  lover  coming.  The  melody  has  already 
been  heard  in  the  overture^  but  its  full  joy  and  splendid 
sweep  are  attained  only  in  this  scene.  In  the  next  scene  we 
have  a  trio  ("  Wie.^  was.''  Entsetzen?  ")  between  Max,  Ann- 
chen,  and  Agatha,  in  which  the  musical  discrimination  of 
character  is  carried  to  a  fine  point;  and  the  act  concludes 
with  the  incantation  music  in  the  Wolf's  Glen,  which  has  never 
been  surpassed  in  weirdness,  mystery,  and  diablerie,  and  at 
times  in  actual  sublimity.  Its  real  power  lies  in  the  instru- 
mentation; not  alone  in  its  vivid  and  picturesque  presenta- 
tion of  the  melodramatic  scene  with  its  hideous  surroundings, 
but  in  its  expressiveness  and  appositeness  to  the  action  and 
sentiment  by  the  skilful  use  of  motives. 

The  last  act  has  an  instrumental  prelude  foreshadowing 
the  Hunters'  Chorus.  It  opens  with  a  graceful  but  somewhat 
melancholy  aria  of  a  religious  character  ("  Und  ob  die  Wolke 
sie  verhiille  "),  sung  by  Agatha,  in  which  she  is  still  wavering 
between  doubt  and  hope,  and  succeeded  by  another  of  Ann- 
chen's  arias,  beginning  with  the  gloomy  romance  ("  Einst 
traumte  meiner  sel'gen  Base  "),  and  closing  with  a  lively  al- 
legro ("  Triibe  Augen,  Liebchen  "),  which  is  intended  to  en- 
courage her  sad  mistress.  Then  the  bridesmaids  sing  their 
lively  chorus  ("  Wir  winden  dir  den  Jungfern-Kranz  "),  so  well 
known  by  its  English  title,  "  A  rosy  Crown  we  twine  for 
Thee."  The  pretty  little  number  is  followed  by  the  Hunters' 
Chorus  ("  Was  gleicht  wohl  auf  Erden  dem  Jagervergniigen,") 
which  is  a  universal  favorite.  It  leads  up  to  a  strong  dramatic 
finale,  crowded  with  striking  musical  ideas,  and  containing 
Agatha's  beautiful  melody  in  the  closing  chorus. 

Few  operas  have  had  such  world-wide  popularity  as  "  Der 
Freischiitz,"  and  yet  it  is  an  essentially  German  product. 
The  composer's  son  has  aptly  characterized  it,  in  his  biography 
of  his  father:  "  Weber  did  not  compose  '  Der  Freischiitz  ';  he 
allowed  it  to  grow  out  of  the  rich  soil  of  his  brave  German 
heart,  and  to  expand  leaf  by  leaf,  blossom  by  blossom,  fos- 
tered by  the  hand  of  his  talent;  and  thus  no  German  looks 
upon  the  opera  as  a  work  of  art  which  appeals  to  him  from 
without.     He  feels  as  if  every  line  of  the  work  came  from 


WEBER  393 

his  own  heart,  as  if  he  himself  had  dreamed  it  so,  and  it 
could  no  more  sound  otherwise  than  the  rustling  of  an  honest 
German  beech-wood." 


Oberon 

"  Oberon,  or,  The  Elf  King's  Oath,"  romantic  and  fairy- 
opera  in  three  acts,  words  by  J.  R.  Planche,  was  first  pro- 
duced at  Covent  Garden,  London,  April  12,  1826,  in  English. 
Its  first  Italian  performance  was  given  in  the  same  city,  July 
3,  1860,  the  recitatives  being  supplied  by  Benedict,  who  also 
added  several  numbers  from  "  Euryanthe."  It  was  first  sung 
in  New  York,  October  9,  1829.  The  original  cast  was  as 
follows : 

Reiza Miss  Paton. 

Fatima Mme.  Vestris. 

Puck Miss  Cawse. 

Huon Mr.  Braham. 

Oberon Mr.  Bland. 

Sherasmin Mr.  Fawcett. 

Mermaid Miss  Gownell. 

The  librettist,  Planche,  in  a  tribute  to  Weber,  gives  the 
origin  of  the  story  of  "  Oberon."  It  appeared  originally  in 
a  famous  collection  of  French  romances,  "  La  Bibliotheque 
Bleue,"  under  the  title  of  "  Huon  of  Bordeaux."  The  German 
poet  Wieland  adopted  the  principal  incidents  of  the  story  as 
the  basis  of  his  poem,  "  Oberon,"  and  Sotheby's  translation 
of  it  was  used  in  the  preparation  of  the  text.  The  original 
sketch  of  the  action,  as  furnished  by  Planche,  is  as  follows: 

"  Oberon,  the  Elfin  King,  having  quarrelled  with  his  fairy 
partner,  vows  never  to  be  reconciled  to  her  till  he  shall  find 
two  lovers  constant  through  peril  and  temptation.  To  seek 
such  a  pair  his  '  tricksy  spirit,'  Puck,  has  ranged  in  vain 
through  the  world.  Puck,  however,  hears  the  sentence  passed 
on  Sir  Huon  of  Bordeaux,  a  young  Knight,  who  having  been 
insulted  by  the  son  of  Charlemagne,  kills  him  in  single  com- 
bat, and  is  for  this  condemned  by  the  monarch  to  travel  to 


394  THE    STANDARD    OPERAS 

Bagdad  to  slay  him  who  sits  on  the  Caliph's  left  hand,  and 
to  claim  his  daughter  as  his  bride.     Oberon  instantly  resolves 
to   make   this    pair   the   instruments   of   his   reunion   with   his 
Queen,  and  for  this  purpose  he  brings  up  Huon  and  Sherasmin 
asleep  before  him,  enamours  the  Knight  by  showing  him  Reiza, 
daughter   of   the   Caliph,   in   a   vision,   transports   him   at   his 
waking  to  Bagdad,  and  having  given  him  a  magic  horn,  by 
the  blasts   of  which  he  is  always  to   summon  the  assistance 
of  Oberon,  and  a  cup  that  fills  at  pleasure,  disappears.     Here 
Sir  Huon  rescues  a  man  from  a  lion,  who  proves  afterwards 
to  be  Prince  Babekan,  who  is  betrothed  to  Reiza.     One  of  the 
properties  of  the  cup  is  to  detect  misconduct.     He  offers  it 
to  Babekan.     On  raising  it  to  his  lips  the  wine  turns  to  flame, 
and  thus  proves  him  a  villain.      He  attempts  to  assassinate 
Huon,  but  is  put  to  flight.     The  Knight  then  learns  from  an 
old  woman  that  the  Princess  is  to  be  married  next  day,  but 
that  Reiza  has   been  influenced,  like  her  lover,  by  a  vision, 
and  is  resolved  to  be  his  alone.     She  believes  that  fate  will 
protect  her  from  her  imptials  with  Babekan,  which  are  to  be 
solemnized  on  the  next  day.      Pluon  enters,  fights  with  and 
vanquishes    Babekan,   and   having   spellbound   the   rest   by   a 
blast  of  the  magic  horn,  he  and  Sherasmin  carry  off  Reiza 
and  Fatima.   They  are  soon  shipwrecked.   Reiza  is  captured  by 
pirates  on  a  desert  island  and  brought  to  Tunis,  where  she 
is  sold  to  the  Emir  and  exposed  to  every  temptation,  but  she 
remains  constant.     Sir  Huon,  by  the  order  of  Oberon,  is  also 
conveyed  thither.     He  undergoes  similar  trials  from  Roshana, 
the  jealous   wife  of  the  Emir,  but  proving  invulnerable  she 
accuses  him  to  her  husband,  and  he  is  condemned  to  be  burned 
on  the  same  pile  with  Reiza.     They  are  rescued  by  Sherasmin, 
who  has  the  magic  horn.      Oberon  appears   with  his   Queen, 
whom  he  has  regained  by  their  constancy,  and  the  opera  con- 
cludes with  Charlemagne's  pardon  of  Huon." 

The  overture,  like  that  of  "  Der  Freischiitz,"  reflects  the 
story,  and  is  universally  popular.  Its  leading  themes  are  the 
horn  solo,  which  forms  the  symphony  of  Sir  Huon's  vision, 
a  short  movement  from  the  fairies'  chorus,  a  martial  strain 
from  the  last  scene  in  the  court  of  Charlemagne,  a  passage 


WEBER  395 

from  Reiza's  scene  in  the  second  act,  and  Puck's  invocation 
of  the  spirits. 

The  first  act  opens  in  Oberon's  bower  with  a  melodious 
chorus  of  fairies  and  genii  ("  Light  as  fairy  Feet  can  fall  ") 
followed  by  a  solo  for  Oberon  ("  Fatal  Oath  "),  portraying 
his  melancholy  mood^  and  "  The  Vision,"  a  quaint,  simple 
melody  by  Reiza  ("Oh!  why  art  thou  sleeping?"),  which 
leads  up  to  an  ensemble  ("  Honor  and  Joy  to  the  True  and 
the  Brave  "),  containing  a  solo  for  Oberon,  during  which  the 
scene  suddenly  changes  from  the  fairy  bower  to  the  city  of 
Bagdad.  Huon  has  a  grand  scena  ("Oh!  'tis  a  glorious 
Sight  "),  a  composition  in  several  movements  beginning  with 
a  dramatic  bravura  illustrative  of  the  scenes  of  the  battlefield, 
and  closing  with  a  joyous,  brisk  allegretto  ("  Joy  to  the  high- 
born Dames  of  France  ").  The  finale  begins  with  an  aria 
by  Reiza  ("  Yes,  my  Lord  "),  in  the  Italian  style,  passing 
into  a  duet  for  Reiza  and  Fatima,  and  closing  with  the  chorus, 
"  Now  the  Evening  Watch  is  set." 

The  second  act  opens  with  a  characteristic  chorus  ("  Glory 
to  the  Caliph  "),  the  music  of  which  has  been  claimed  by 
some  critics  as  genuinely  Moorish,  though  it  is  probable  that 
Weber  only  imitated  that  style  in  conformity  to  the  demands 
of  the  situation.  A  little  march  and  three  melodramatic 
passages  lead  up  to  an  arietta  for  Fatima  ("  A  lovely  Arab 
Maid  ")  beginning  with  a  pleasing  minor  and  closing  in  a 
lively  major.  This  leads  directly  to  the  quartet  ("  Over  the 
dark  blue  Waters  ")  —  one  of  the  most  attractive  numbers  in 
the  opera.  It  is  a  concerted  piece  for  two  sopranos,  tenor, 
and  bass,  opening  with  two  responsive  solos  in  duet,  first  for 
the  bass  and  tenor,  and  then  for  the  two  sopranos,  the  voices 
finally  uniting  in  a  joyous  and  animated  movement  of  great 
power.  The  music  now  passes  to  the  supernatural,  and  we 
have  Puck's  invocation  to  the  spirits,  whom  he  summons  to 
raise  a  storm  and  sink  the  vessel  in  which  the  lovers  have 
embarked.  The  chorus  of  the  spirits  in  response  is  a  very 
rapid  presto  movement,  and  in  its  way  as  effective  as  the 
incantation  music  in  "  Der  Freischiitz."  The  storm  rises,  the 
orchestra  being  the  medium  of  the  description,  which  is  graphic 


396  THE    STANDARD    OPERAS 

and  effective.  Huon  has  a  short  impressive  prayer  ("  Ruler 
of  this  awful  Hour  "),  and  then  follows  Reiza's  magnificent 
apostrophe  to  the  sea  ("  Ocean,  thou  mighty  Monster  that  liest 
curled  like  a  green  Serpent  round  about  the  World").  The 
scene  is  heroic  in  its  construction,  and  its  effective  perform- 
ance calls  for  the  highest  artistic  power.  It  represents  the 
gradual  calm  of  the  angry  waters,  the  breaking  of  the  sun 
through  the  gloom,  and  the  arrival  of  a  boat  to  the  succor 
of  the  distressed  Reiza.  The  immense  effect  of  the  scene  is 
greatly  enhanced  by  the  descriptive  instrumentation,  espe- 
cially in  the  allegro  describing  the  rolling  of  the  billows  and 
the  recitative  and  succeeding  andante  picturing  the  outburst 
of  the  sun.  The  mermaid's  song  ("Oh!  'tis  pleasant"), 
with  its  wavy,  flowing  melody,  forms  a  fitting  pendant  to  this 
great  picture  of  elementary  strife;  and  a  delicate  and  grace- 
ful chorus  closes  the  act. 

The  third  act  opens  with  a  lovely  song  for  Fatima  ("  Oh! 
Araby,  dear  Araby  "),  consisting  of  two  movements,  —  an 
andante  plaintively  recalling  past  memories,  and  an  allegro  of 
exquisite  taste.  The  song,  it  is  said,  was  a  special  favorite 
with  the  composer.  It  is  followed  by  a  duet  for  Sherasmin 
and  Fatima  ("  On  the  Banks  of  sweet  Garonne  "),  which  is 
of  a  vivacious  and  comic  nature  in  Sherasmin's  part,  and  then 
passes  into  a  tender  minor  as  Fatima  sings.  The  next  num- 
ber is  a  trio  for  soprano,  alto,  and  tenor  ("  And  must  I  then 
dissemble?  "),  written  much  in  the  style  of  the  trio  in  "  Der 
Freischiitz,"  and  yet  purely  original  in  its  effect.  Reiza  fol- 
lows with  a  smooth,  flowing,  and  pathetic  cavatina  ("  Mourn 
thou,  poor  Heart  "),  which  is  succeeded  in  marked  contrast 
by  a  joyous  rondo  ("I  revel  in  Hope  ")  sung  by  Sir  Huon. 
The  next  scene  is  that  of  Sir  Huon's  temptation,  a  voluptuous 
passage  for  ballet  and  chorus,  interrupted  at  intervals  by  the 
energetic  exclamations  of  the  paladin  as  he  successfully  re- 
sists the  sirens.  The  gay  scene  leads  up  to  the  finale.  Sir 
Huon  and  Reiza  are  bound  to  the  stake,  surrounded  by  slaves 
singing  a  weird  chorus.  A  blast  from  the  magic  horn  sets 
them  dancing,  and  a  quartet  for  the  four  principal  characters 
based  upon  the  subject  of  the  slaves'  chorus  ensues.     Oberon 


WEBER  397 

appears  and  takes  his  leave  after  transporting  the  whole 
company  to  the  royal  halls  of  Charlemagne.  A  stirring  march 
opens  the  scene,  a  beautiful  aria  by  Huon  follows  ("  Yes ! 
even  Love  to  Fame  must  yield  "),  and  a  chorus  by  the  entire 
court  closes  the  opera. 


Euryanthe 

The  opera  of  "  Euryanthe  "  was  written  for  the  Karnth- 
nerthor  Theatre,  Vienna,  where  it  was  first  produced  October 
25,  1823,  though  not  with  the  success  which  afterwards 
greeted  it  in  Berlin,  owing  to  the  Rossini  craze  with  which 
the  Austrian  capital  was  afflicted  at  that  time.  The  original 
cast  was  as  follows: 

Euryanthe Frl.  Sontag. 

Eglantine Frau  Grunbaum. 

Lysiart Herr  Forti. 

Adolar Herr  Heitzinger. 

Ludurig  VI Herr  Seipelt. 

The  libretto  is  by  Helmine  von  Chezy,  an  eccentric  old 
woman  who  proved  a  sad  torment  to  the  composer.  The 
plot  was  adapted  from  an  old  French  romance,  entitled 
"  L'Histoire  de  Gerard  de  Nevers  et  de  la  belle  et  vertueuse 
Euryanthe,  sa  mie,"  and  is  substantially  as  follows: 

In  the  palace  of  King  Louis  of  France,  where  a  brilliant 
assemblage  is  gathered.  Count  Adolar  sings  a  tribute  to  the 
beauty  and  virtue  of  Euryanthe,  his  betrothed.  Count  Lysiart 
replies  with  a  sneer  and  boast  that  he  can  gain  her  favor; 
but  Adolar  challenges  him  to  bring  a  proof.  The  scene  then 
changes  to  the  castle  of  Nevers,  and  discloses  Euryanthe 
longing  for  Adolar.  Eglantine,  who  is  also  in  love  with 
Adolar,  and  who  is  conspiring  against  Euryanthe,  soon  joins 
her,  and  in  their  interview  the  latter  rashly  discloses  the 
secret  of  a  neighboring  tomb  known  only  to  herself  and 
Adolar.  In  this  tomb  rests  the  body  of  Emma,  Adolar's 
sister,  who  had  killed  herself,  and  whose  ghost  had  appeared 
to  Euryanthe  and  her  lover  with  the  declaration  that  she  can 


398  THE    STANDARD    OPERAS 

never  be  at  peace  until  tears  of  innocence  have  been  shed 
upon  the  ring  which  was  the  agency  employed  in  her  death. 
Lysiart  arrives  from  court  with  a  commission  to  take  Eury- 
anthe  to  the  King,  while  Eglantine  is  left  behind  in  posses- 
sion of  the  secret. 

In  the  second  act  Lysiart  deplores  his  failure  to  obtain 
the  favor  of  Euryanthe;  but  his  hopes  are  renewed  when 
he  meets  Eglantine  emerging  from  the  tomb  with  the  ring, 
and  learns  from  her  that  it  can  be  made  to  convict  Euryanthe 
of  indiscretion,  or  at  least  of  breaking  her  promise  not  to 
reveal  the  tomb  secret.  He  obtains  the  ring,  confronts  Eury- 
anthe with  it  at  the  palace,  and  forces  her  to  admit  the  broken 
promise.  Adolar,  believing  that  she  is  guilty,  drags  her  away 
to  a  wilderness  where  it  is  his  intention  to  kill  her;  but  on 
the  way  they  are  attacked  by  a  serpent.  Adolar  slays  the 
monster,  and  then,  seized  with  sudden  pity,  he  abandons  his 
intention  of  killing  her,  but  leaves  her  to  her  fate.  She  is 
subsequently  found  by  the  King  while  on  a  hunting  expedi- 
tion, and  to  him  she  relates  the  story  of  Eglantine's  treachery. 
The  King  takes  her  with  him  to  the  palace.  Meanwhile 
Adolar  has  begun  to  suspect  that  Euryanthe  has  been  the 
victim  of  her  base  wiles,  and  on  his  way  to  Nevers  to  punish 
Lysiart  he  encounters  the  wedding  procession  of  the  guilty 
pair,  and  challenges  him.  The  King  suddenly  arrives  upon 
the  scene  and  announces  Euryanthe's  death,  whereupon  Eglan- 
tine declares  her  love  for  Adolar.  The  furious  Lysiart  turns 
upon  her  and  stabs  her.  Euryanthe  is  not  dead.  She  has 
only  fainted,  and  is  soon  restored  to  her  lover,  while  Lysiart 
is  led  off  to  the  scaffold. 

The  overture,  which  is  familiar  in  the  concert  room,  gives 
a  sketch  of  the  principal  situations  in  the  opera.  The  first 
act  opens  in  the  great  banquet-hall  of  the  King  with  a  flowing 
and  stately  chorus  ("  Dem  Frieden  Heil ")  alternating  be- 
tween female  and  male  voices  and  finally  taken  by  the  full 
chorus.  Then  follows  Adolar's  lovely  and  tender  romanza 
("  Unter  bliihenden  Mandclbaumen  ").  The  next  number,  a 
chorus  ("Heil!  Euryanthe"),  with  recitatives  for  Adolar, 
Lysiart,  and  the  King,  leads  up  to  a  vigorous  trio  ("Wohlan! 


WEBER  399 

Du  kennst ").  Euryanthe's  idyllic  and  touching  cavatina 
("  Glocklein  im  Thale  ")  is  a  match  in  beauty  and  tenderness 
for  Adolar's  romanza.  The  recitative  which  follows  intro- 
duces a  sentimental  aria  for  Eglantine  ("  O  mein  Leid  ist 
unermessen  "),  leading  to  a  duet  with  Euryanthe  ("  Unter 
ist  mein  Stern  gegangen  ").  A  scena  for  Eglantine,  charac- 
terized by  all  the  hatred  and  fury  of  jealousy,  introduces  the 
finale,  which  consists  of  a  vigorous  chorus  ("  Jubeltone  ") 
accompanying  Euryanthe's  solo    ("  Frohliche  Klange  "). 

The  second  act  opens  with  a  powerful  recitative  and  aria 
for  Lysiart  ("  Wo  berg  ich  mich  "),  which  is  full  of  passion. 
A  duet  of  a  menacing  and  sombre  character  between  Lysiart 
and  Eglantine  ("  Komm  denn  unser  Leid  zu  rachen  ")  stands 
out  in  gloomy  contrast  with  Adolar's  aria  ("  Wehen  mir  Lufte 
Ruh'  ")  and  the  duet  with  Euryanthe  ("  Hin  nimm  die  Seele 
mein  "),  so  full  of  grace  and  tenderness,  which  lead  up  to 
the  finale,  a  grand  quartet  ("  Lass  mich  empor  zum  Lichte  "), 
with  powerful  chorus  accompaniment. 

The  last  act  opens  with  the  serpent  episode,  accompanied 
by  characteristic  music,  and  a  recitative  scene  between  Eury- 
anthe and  Adolar  leads  up  to  a  pathetic  cavatina  for  Eury- 
anthe ("  Hier  am  Quell  wo  Weiden  stehn  ").  The  ringing 
notes  of  the  horns  behind  the  scenes  announce  the  approach  of 
the  King's  party,  who  sing  a  fresh  and  sonorous  hunting 
chorus  ("  Die  Thale  dampfen  ").  The  remaining  numbers  are 
a  duet  for  Euryanthe  and  the  King  with  chorus  ("  Lasst  mich 
hier  in  Ruh'  erblassen  "),  a  lovely  and  melodious  aria  with 
chorus  for  Euryanthe  ("  Zu  ihm  "),  a  bright  wedding  march 
and  scene  with  chorus,  and  a  duet  for  Adolar  and  Lysiart 
with  chorus,  leading  to  the  grand  quintet  and  chorus  which 
bring  the  opera  to  a  close. 


INDEX 


INDEX 


Achard,  M.,  295 

Adam,  Adolph,  Boieldieu's  pupil,  44 

Adam,  Adolphe  Charles,  1 

Agathe,  P'rau,  344 

"Aida,"  outline  of,  322-325 

Albani,  Emma,  74 

Albert,  D'Eugene  Francis  Charles,  4 

Alboni,  Mme.,  171 

Aldighieri,  Sig.,  226 

"Alessandro  Stradella,"  99-100 

Alexi,  Herr,  110 

"Algeria,"  122 

Alten,  Bella,  41,  91 

Amato,  Pasquale,  238 

American  Opera  Company,  69,  107 

254 
Amodio,  Sig.,  316 
Ancona,  Sig.,  139 
Ander,  Herr,  96 

"  Andrea  Chenier,"  outlineof,  105-106 
"Anecdotes,"  Crowest,  quoted,  78 
Anthes,  Herr,  220 
Arditi,  Sig.,  337 
"Ariane  et  Barbe  Bleue,"  outline  of 

87-88 
Arimondi,  Sig.,  209,  328 
Arnoldson,  Mme.,  139 
Aterrier,  M.,  134 
Auber,  Daniel  F.  E.,  7 
Aubert,  Henri,  17 
Audisio,  Pietro,  239 


B 

"Babes  in  Toy  land,"  Herbert,  122 
"Babette,"  Herbert,  122 
Bache,  Constance,  128 
Bada,  Angelo,  238 
Baghoni,  Sig.,  195 


Baireuth  theatre,  356-358 

Balanque,  M.,  114 

Balderi,  M.,  316 

Balfe,  Michael  William,  20 

Balka,  R.,  41 

Bandrowski,  M.  von,  220 

Barbier,  Jules  M.,  114,  117,  181,  191, 

218,  295,  298 
Barbot,  M.,  114 
Barlandini,  Sig.,  226 
Barnett,  Alice,  285,  288 
Baroelhst,  M.,  74 

Barrington,  Rutland,  281,  285,  288 
Bars,  Jacques,  128,  232 
Barton,  G.  E.,  61 
Bassi,  Sig.  Luigi,  195 
Bassi,  Amadeo,  93 
Bataille,  M.,  295 
Batteo,  Mile.  Marie,  187 
Baucarde,  M.,  316 
Bauserwein,  Herr,  356 
Bayard,  M.,  72 
Bayer,  Julius,  131 
Beaucarde,  Sig.,  310 
Beck,  Herr,  344 

Beethoven,    Ludwig    van,    26;     his 
estimate  of  "The  Magic  Flute," 
203 
Belasco,  David,  234,  239 
BeUinconi,  Gemma,  147 
Bellini,  Vincenzo,  30 
Belval,  M.,  187 
Benucci,  Sig.,  191 
Berat,  Louise,  93 
Bernstein,  Elsa,  131 
Betts,  Miss,  20 
Betz,  Herr,  351,  359 
Biancolini,  Sig.,  226 
Bierbaum,  Otto  J.,  301 
Bis,  Hippolyte,  251 
Bispham,  Mr.,  220 


404 


INDEX 


Bittner,  Karl,  37 

Bizet,  Georges,  38 

Bland,  Mr.,  393 

Blass,  Mr.,  220 

Blau.  M.,  153,  157,  242 

Blech,  Leo,  41 

Bloch,  Mme.,  257 

Blume,  Herr  Heinrich,  388 

Bohrmann-Riegen,  269 

Boieldieu,  Frangois  Adrien,  43 

Boito,  Arrigo,  46,  226,  237.  325,  328 

Bondini,  Signora,  195 

Bond,  Miss  J.,  281,  288 

Borghi-Mamo,  Mme.,  316 

Borrain,  Mr.,  383 

Borrani,  Mr.,  13,  20 

Bosio,  Mme.,  7,  310 

Bosman,  Mme.,  242 

Botticelli,  Sig.,  245 

Bouilly,  M.,  26,  59 

Bom-geois,  Georges,  239 

Boussa,  M.,  242 

Bouvet,  M.,  157 

Braham,  John,  10,  393 

Braham,  Leonora,  285,  288 

Brandt,  Frl.  Mariann,  110,  348 

Brandt,  Sophie,  103 

Brani,  Miss  Cecile,  128 

Breton,  Tomas,  49 

Brignoli,  Sig.,  316 

Bruneau,  Alfred,  51 

Brunswick,  Mr.,  1 

Bunge,  Rudolph,  204 

Bunn,  Alfred,  20,  99 

Burgmuller,  Herr,  96 

Bussani,  Signora,  191 

Bussani,  Sig.,  191 


Cabel,  Mme.  Marie,  181,  295 
Cache,  Herr,  26 
Cain,  Henri,  165,  169,  209 
Callahan,  G.  W.,  103 
Calzabigi,  Sig.,  107 
Cammarano,  M.,  78,  316 
Campbell,  Miss,  147 
Campbell,  Mrs.  Patrick,  64 
Candidus,  Mr.,  254 
Carafa,  M.,  248 

Carl    Rosa   English   Opera   Troupe, 
230,  337 


"  Carmen,"  outline  of,  38-40 

Caron,  Mme.  Rose,  242 

Carre,  M.,  114, 117, 181, 191,  295,  298 

Caruso,  Enrico,  238 

Case,  Anna,  301 

Castellan,  Mme.,  171 

Catalani,  Alfredo,  54 

"Cavalleria   Rusticana,"  outline  of, 

147-149 
Cawse,  Miss,  393 
"Cendrillon,"  outline  of,  165-166 
Chadal,  Georges,  103 
Chapuy,  Mile.,  38 
Charpentier,  Gustave,  56 
Chavanne,  Frl.  von,  220 
Chenevieve,  Jacques,  17 
Cherubini,  Maria  Luigi,  59 
"Cinderella,"  89 
Cinti-Damoreau,  Mme.,  178 
Civinini,  C,  238 
Clairville,  M.,  136 
Clifford,  Mr.,  281 
Coletti,  Sig.,  310 
Conders,  M.,  295 
Converse,  Frederick  S.,  61 
Cordier,  Mile.,  181 
Costa,  Sig.,  322 
Crabbe,  Armand,  122 
Cremieux,  M.,  216 
Cremonini,  Sig.,  232 
Crowest,  "Anecdotes,"  quoted,  78 
"Cyrano  de  Bergerac,"  Herbert,  122 
"Czar  and  Carpenter,"  outline  of, 

142-143 

D 

Dabodie,  M.,  251 

Dabodie,  Mme.,  251 

Daddi,  Francesco,  93 

Dalmores,  Charles,  209 

"Dame  de  Pique,"  outline  of,  304-306 

Damoreau-Cinti,  Mme.,  10,  251 

Damrosch,  Walter  J.,  257 

D'Annunzio,  66 

Da  Ponte,  Lorenzo,  191,  195 

"Das  Rheingold,"  outline  of,  362-365 

Debussy,  Claude  Achille,  64 

Defrere,  Desire,  122 

De  Gramont,  M.,  157 

Deinet,  Mile.,  348 

Delavigne,  10,  178 

Deldeves,  M.,  96 


INDEX 


405 


De  Leuven,  M.,  1 

Delibes,  Leo,  69 

Del  Puente.  Sig.,  147 

De  Lucia,  Sig.,  139 

De  Meric,  Mme.,  178 

Demmer,  Herr,  26 

Dennery,  M.,  153 

"Der  Bergsee,"  Bittner,  outline  of,  37 

Dereim,  M.,  259 

De  Reszke,  Edouard,  153 

De  Reszke,  Jean,  153 

"Der  Freischutz,"  outline  of,  388-393 

Derivis,  M.,  171 

"Der    Rosenkavalier,"    outline    of, 

278-280 
"Der   Trompeter    von    Sakkingen," 

"The   Trumpeter  of  Sakkingen," 

204-206 
Deschamps,  M.,  171 
Deschamps,  Mme.,  242 
De  Segurola,  Andrea,  91,  239 
Destinn,  Emmy,  238 
Detmer,  Herr,  332 
Detroyat,  M.,  259 
Devrient,  Edouard,  144 
Devries,  M.,  242 
Di  Cisnero,  Eleonora,  209 
Didur,  Adamo,  131,  238 
Didus,  Adamo,  91 
"Die  Fledermaus,"  outline  of,  268- 

269 
"Die  Gotterdammerung,"  outline  of, 

373-376 
"Die  Hochzeit  des  Figaro,"     "The 

Marriage  of  Figaro,"  191-195 
"Die  Konigskinder,"  outline  of,  131- 

133 
Dietz,  Mme.,  351 
"Die  vier  Grobriane,"  89 
"Die  Walkure,"  outline  of,  365-369 
"Die     Zauberflote,"     "The     Magic 

Flute,"  199-203 
Dilthey,  Minnie,  107 
Di  Murska,  Mile.,  337 
"Dinorah,"  outline  of,  181-184 
Doane,  Frank,  103 
Donatelli,  Mme.,  313,  314 
\*>'Don  Giovanni,"  outline  of,  195-199 
■'xionizetti,  Gaetano,  72 

"Don  Pasquale,"  outline  of,  76-78 
"Don  Quixote,"   Massenet,   outline 

of,  169-170 


"Don  Sebastian,"  78 

Donzelli,  Sig.,  30 

Dorus-Gras.  Mme.,  10,  119,  171,  178 

Douste,  Miss  Jeanne,  128 

Duclos,  Mme.,  114 

Dufranne,  Hector,  122,  209 

Dufriche,  Sig.,  232 

Dukas,  Paul,  87 

Du  Lode,  M.,  242 

Dupont,  M.,  251 

Duprez,  M.,  74,  78 

Durnset,  Mr.,  20 

E 

Egener,  Minnie,  122 
Filers,  Herr,  359 
Elba,  Miss  Marie,  128 
"Elektra,"  outline  of,  277-278;  crit- 
icisms of,  278 
Engel,  Lotte,  131 
"Ernani,"  outline  of,  307-310 
"Esclarmonde,"  outline  of,  157-159 
"Eugen  Onegin,"  outline  of,  303-304 
Eunike,  Frl.  Johanna,  388 
"Euryanthe,"  outlme  of,  397-399 
Everard,  Miss,  281 
Evers,  Signora,  310 

F 

Faivre,  Mile.,  114 
Falcon,  Mile.  Cornelia,  119,  171 
Falconer,  M.,  23 
"Falstaff,"  outline  of,  328-331 
Farrar,  Geraldine,  91,  131 
Fastlinger,  Frl.,  344 
Faure,  M.,  181,  187,  299 
"Faust,"  outline  of  114-117 
Fawcett,  Mr.,  393 
"Feldlager  in  Schlesien,"  175 
Ferenczy,  M.,  257 
Fessenden,  W.  H.,  254 
"Feuersnot,"  outline  of,  272-274 
"Fidelio,"  outline  of,  26-29 
Fides-Devries,  Mme.,  153 
Fischer,  Emil,  110,  348,  351 
Fitzball,  M.,  383 
Flecheux,  Mile.,  171 
Flotow,  Friedrich  von,  96 
Foli,  Sig.,  337 
Formes,  Carl,  96 


406 


INDEX 


Fomari,  Sig.,  325 
Fornia,  Rita,  91,  223 
Forti,  Herr,  397 
Fortuna,  Ferdinando,  237 
"Fra  Diavolo,"  outline  of,  7-10 
Franchetti,  Alberto,  101 
Fraschini,  M.,  319 
Frascona,  Menotti,  239 
Frezzolini,  Mme.,  316 
Friedrich-Materna,  Frau,  359,  377 

G 

Gadski,  Johanna,  41,  301 

Gallet,  M.,  51,  151,  153,  166,  262 

Galli-Marie,  INIme.,  38,  295 

Gain,  Sig..  248 

Garbin,  M.,  328 

Garcia,  Sig.,  245 

Garden,  Mary,  64,  122 

Gardoni,  Sig.,  7 

Gaune,  Louis,  103 

Gayarro,  Sig.,  226 

Gen6e,  Franz,  267,  268,  269 

Gentle,  Alice,  103 

"Germania,"  outline  of,  101,  102 

Gem,  Herr,  388 

Giacosa,  M.,  230,  232,  234 

Gibert,  M.,  157 

Gilbert,  W.  S.,  281,  283.  284.  285,  286, 

288.  290,  292 
Gilibert,  Sig.,  232 
Gille,  M.,  155 
Gilly,  Dinh,  238 
Giordano,  Umberto,  105 
"Girofle-Girofla,"  outline  of,  134-136 
"Gli  Ugonotti,"  "The  Huguenots," 

outline  of,  171-174 
Gluck,  Christoph  Willibald,  107 
Goeffoel,  M.,  242 
Goggi,  Mme.,  316 
Goldmark,  Karl,  110 
GoUsciani,  E..  89,  93 
Gordon,  Miss  Alice,  128 
Goritz,  Otto,  41,  131 
Gorl,  Frau,  199 
Gorl.  Herr.  199 
Gotlieb,  Frl,  199 
Gottlieb,  Frau,  191 
Gounod,  Charles  Frangois,  114 
Gownell,  Miss,  393 
Graziani,  M.,  313 


Grenville,  Lillian,  122.  209 

Gresse,  M..  242 

Grisi,  Mme.,  30,  34.  74,  76 

Griswold,  Putnam,  223 

"Griselidis,"  outline  of,  159-161 

Gromzeski, '  Sig.,  139 

Grossi,  Signora,  322 

Grossmith,  Mr.  George,  281,  285,  288 

Griinbaima,  Frau,  397 

Gruneisen's   memoir  of   Meyerbeer. 

quoted,  178 
Guaymat,  Mme.,  299 
Guerrini,  Signora,  328 
Guetary,  Sig.,  139 
Guicciardi,  M.,  316 
Guille,  M.,  147 
Guimera,  Angel,  4 
Giu-a,  Herr,  359 
"Gustavusm,"319 

H 

Haffner,  M.,  268 

Halevy,  Jacques  F.  F.,  119 

Halevy,  M.,  38,  212,  214 

Hall,  Glenn,  239 

Hamilton,  Mr.,  254 

"Hamlet,"  outline  of,  298-300 

"Hansel  and  Gretel,"  19,  41;   outline 

of,  128-131 
"Hans  Heiling,"  outline  of,  144-146 
Hanslick,  and  "Robert  le  Diable," 

181 
"Hans  the  Flute  Player,"  outline  of, 

103-104 
"Harmonicon,    The,"  comments   on 

"Semiramide,"  248-249 
Harris,  Mr.,  23 

Harrison,  William,  13, 15,  20,  383 
Hastreiter,  Helene,  107 
Haupt,  Frl.,  359 
Heberle,  Mile.,  178 
Heilbronn,  Mme.,  155 
Heitzinger,  Herr,  397 
"Henry  VIH,"  outline  of,  259-262 
Herbert,  Victor,  122 
"Herodiade,"  Massenet,  161-163 
Herold,  Louis  J.  F.,  125 
Hertz,  Alfred,  131 
Hervey's    biography    of    Massenet, 

quoted,  156-157 
Hill,  Herr,  359 


INDEX 


407 


Hinshaw,  William,  131,  223,  301 
"H.  M.  S.  Pinafore,"  outline  of,  281- 

283 
Hofer.  Frau,  199 
Hofer,  Herr,  344 
Holzel,  Herr,  351 
Homer,  Louise,  131,  220,  223 
Hooker,  Brian,  223 
Horncastle,  Mr.,  13 
Howson,  Miss  E.,  281 
Huberdeau,  G.,  122,  209 
Hueffcr's  life  of  Warner,  quoted,  349 
Hugo,  Victor,  and  "Lucrezia  Borgia," 

82;  Ernani,  307 
Humperdinck,  Engelbert,  18,  41,  128 


"II    Ballo    in    Maschera."      "The 

Masked  Ball,"  319-322 
Illica,  Luigi,  54,  101,  105.  149,  230, 

232,  234 
"II  Segreto  di  Susanna,"  89 
"II  Trovatore,"  outline  of,  316-319 
"lolanthe,"  outline  of,  288-290 
"I  Pagliacci,"  outline  of,  139-141 
"I  Puritani,"  outline  of,  34-36 
"Iris,"  outline  of,  149-150 
"It  happened  in  Nordland,"  Herbert, 

122 


Jadlowker,  Hermann,  91,  131,  301 

Jadlowski,  41 

Jahn's    criticism    of    "The    Magic 

Flute,"  203 
Jaida,  Frau,  359 
Johnston,  Miss  Edith,  128 
Jourdain,  M.,  242 
Jouy,  fitienne,  251 
Juch,  Emma,,  107,  254 


K 

Kalich,  Bertha,  4 

Kammer,  Frl.,  220 

Kashkin,  M.,  303 

Kauflmann,  Frl.,  356 

Kellogg,  Clara  Louise,  74,  298,  337 

Kelly's      "Reminiscences"      quoted 

about  "Figaro,"  192 
Kindermann,  Herr,  356 


Kind,  Friedrich,  388 
Klink,  Gabrielle.  122 
Konig,  Herr,  136 
Kramer- Weidl,  Frau,  110 
Krauss,  Mile.,  259 
Kronold,  Mme.,  147 
Krull,  Frl., 


"La  Attaque  du  Moulin,"  outline  of, 

51-53 
Labarre,  Boieldieu's  pupil,  44 
"La  Belle  Helene,"  outUne  of,  214- 

215 
Lablache,  Sig.,  34,  76 
"La   Boheme,"   Puccini,  outline  of, 

230-231 
"La  Bohemienne,"  Balfe,  20 
"  La  Dame  Blanche,"  outline  of,  43-45 
"La    Dolores,"    outline    of,    49-50 
"La   Ebrea"    ("The   Jewess"),    119 
"La  Favorita,"  outline  of,  74-76 
"La  Fille  de  Madame  Angot,"  out- 
line of,  136-138 
"La  Fille  du  Regiment,"  72-74 
Lafont,  M.,  178 

"L'Africaine,"  outline  of,  187-190 
"La  Gioconda,"  outUne  of,  226-229 
Lagrua,  Mile.,  319 
"La  Juive,"  119 
"Lakme,"  outline  of,  69-71 
L'Allemand,  Miss  Pauline,  254 
L'Allemand,  Mme.,  69 
Lammert,  Frl.,  359 
"La   Muette    de    Portici."       "Ma- 

saniello,"  10 
Lasalle,  M.,  259 
Laschi,  Signora,  191 
"La  Sonnambula,"  outline  of,  32-34 
"La  Tosca,"  outline  of,  232-234 
"La  Traviata,"  outline  of,  313-316 
"La  Wally,"  outline  of,  54-55 
"LaZingara,"  Balfe,  20 
"Le  Cid,"  outline  of,  153-155 
Lecocq,  Charles,  134 
"Le    Donne    Curiose,"    outline    of, 

90-92 
Lee,  Mr.,  254 

"Le  For6t  Bleue,"  outline  of,  17-19 
Lehmann,  Frl.  Lilli,  110,  348,  359 
Lehmann,  Frl.  Marie,  359 


408 


INDEX 


"Le    Jongleur    de    Notre     Dame," 

outline  of,  167-169 
"L'Elisir  d'Amore,"  outline  of,  80-82 
Lely,  Durwar,  288 
Lemaire,  Ferdinand,  257 
"Le  Martyre  de  Saint  Sebastian,"  66 
Lena,  Maurice,  168 
"Le     Nozze     di     Figaro."       "The 

Marriage  of  Figaro,"  191-195 
Leoncavallo,  Ruggiero,  139 
"Leonore."    "Fidelic."  27 
"Le  Pardon  de  Ploermel."     "Din- 

orah,"  181-184 
"Le    Prophete."      "The    Prophet," 

184-187 
Lerda,  M.,  171 
"Le    Roi    de    Lahore,"    outline  of, 

151-152 
Leroux,  Mile.,  10 

"Les  Contes  d'Hoffmann,"  218-219 
"Les    Deux    Journees,"    outline    of, 

59-60 
"Les   Diamants   de    la    Couronne." 

"The  Crown  Diamonds,"  12-16 
"Les  Huguenots,"  171 
"L'fitoile    du    Nord."      "The    Star 

of  the  North,"  175-177 
Levasseur,  M.,  119,  171,  178,  251 
"Le  Villi,"  Puccini,  outline  of,  237- 

238 
"Linda  de   Chamouni,"   outline  of, 

85-86 
Lind,  Jenny,  72,  74,  175,  178 
Lipton,  Blanche,  103 
Liszt,  Franz,  344 
"Lobetanz,"  outline  of,  301,  302 
"Lohengrin,"  outline  of,  344-348 
Lolli,  Sig.,  195 
Long,  J.  L.,  234 
LOrtzing,  Gustav  Albert,  142 
"Louise,"  outline  of,  56-58 
Lucca,  Mile.,  188 
Lucca,  Mme.,  298 
"Lucia  di  Lammermoor,"  outline  of, 

78-80 
"Lucrezia  Borgia,"  outline  of,  82-84 
Ludwig,  Mr.,  254 

M 

"Madame    Butterfly,"    outline    of, 
234-235 


Maeterlinck,  M.,  64,  87 

Malibran,  Maria  Felicia,  27,  32 

Mallinger,  Mile.,  351 

Mandini,  Signor,  191 

Mandini,  Signora,  191 

Manners,  Charles,  288 

"Manon  Lescaut,"  Puccini,  outline 

of,  235-237 
"Manon,"  outline  of,  155-157 
"Manru,"  outline  of,  220-222 
Mansuede,  M.,  242 
Marai,  Mile.,  7 
Maran,  Ernst,  131 
Marchisio,  Barbara,  248 
Marchisio,  Carlotta,  248 
"Margarethe"  ("Faust"),  114 
Mariani,  Mme.,  248 
Mariani,  Sig.,  226,  248 
Mariano,  Sig.,  32 
Marini,  Sig.,  171 

Mario,  Sig.,  10,  74,  76.  171,  310,  316 
"Maritana,"  outline  of,  383-387 
Marschner,  Heinrich,  144 
"Martha,"  outHne  of,  96-98 
Martin,  Riccardo,  223 
"Masaniello,"  outline  of,  10-12 
Mascagni,  Pietro,  147 
Massenet,  Jules  E.  F.,  151 
Massol,  M.,  10,  251 
"Masters  of  French  Music,"  Arthur 

Hervey,  156 
Mattfield,  Marie,  131,  239 
Maubourg,  Jeanne,  91 
Maurel,  Sig.,  325-328 
McCormack,  John,  122 
Medini,  Sig.,  322 
Meier,  Herr,  26 
Meilhac,  M.,  38,  155,  212,  214 
Meisslinger,  Miss  Louise,  128 
Meister,  Herr,  26 
Melesville,  M.,  125 
Menasci,  Sig.,  147 
Mendelssohn,  quoted  on  "  Robert  the 

Devil,"  179 
"Mephistopheles,"  46-48 
Metropolitan  Opera  House  Troupe, 

41,  61,  204,  223,  238,  301 
Meyerbeer,  Giacomo,  171 
Micelli,  Signora,  195 
"Mignon,"  outline  of,  295-298 
Milde,  Herr,  344 
Milder,  Frl.,  26 


INDEX 


409 


Milo,  P.,  41 

Miolan-Carvalho,    Mme.,    114,    117, 

181,  310 
Missiano,  Edoardo,  239 
Mitchell,  Georges,  103 
Mitle,  M.,  257 

Mitterwurzer,  Ilerr,  340,  348 
"Mile.  Modiste,"  Herbert,  122 
"Mona,"  outline  of.  223-225 
Mongini,  Sig.,  322 
Morand,  Eugene,  159 
Mori,  Mile.,  251 
Mosenthal,  110,  207 
Mozart,  Johann  W.  A.,  191 
Muhlmann,  Mr.,  220 
Muller,  Frl.,  26 
Murphy,  Lambert,  223 
"Musikant,"  37 


N 


Nachbauer,  Herr,  351 

Nantier-Didiee,  Mme.,  310 

Nardi,  Mile.,  157 

Nast,  Minnie,  279 

"Natoma,"  outline  of,  122-124 

Naudin,  M.,  187 

"Naughty  Marietta,"  122 

Navarrini,  Sig.,  325 

"Nero,"  outline  of,  254,  256 

Nessler,  Victor  E.,  204 

Nibelungen  poem,  meaning  of,  361 

Nicolai  Otto,  207 

Nicolay,  Constantin,  122 

Niemann,  Herr,  348,  359 

Niering,  Herr,  359 

Nilsson,  Mme.  Christine,  298,  314 

Noblet,  Mile.,  10 

Nohl,  Dr.  Ludwig,     sketch     of     the 

Nibelungen  poem,  361 
"Norma,"  outline  of,  30-32 
Nossig,  Alfred,  220 
Nouges,  J.,  209 
Nourrit,  M.,  119,  171,  178,  251 


O 

"Oberon,"  outline  of,  393-397 
Obin,  M.,  187,  248 
Occheley,  Sig.,  191 
Offenbach,  Jacques,  212 


"Orphee    aux    Enfers,"    outline    of, 

216-217 
"Orpheus,"  outline  of,  107-109 
"Othello,"  outline  of,  325-328 


Paderewski,  Ignace  Jan,  220 
Pantaleoni,  Signora,  325 
Parepa-Rosa,  Mme.,  191 
Parker,  H.  W.,  223 
Paroli,  Sig.,  325,  328 
"Parsifal,"  outline  of.  376-382 
Pasqua,  Signora,  328 
Pasta,  Mme.,  30,  32 
"Patience,"  outline  of,  285-288 
Paton,  Miss,  393 
Patti,  Mme.,  74,  314 
PelagalU-Rossetti,  Sig.,  328 
"Pelleas  and  Melisande,"  outline  of, 

64-66 
Penco,  Mme.,  316 
Pepoli,  Count,  34 
Perier,  Jean.  64 
Perotti,  Sig.,  337 
Perron,  Herr,  279 
Persiani,  Mme.,  78 
Phillips,  Mr..  383 
Piave,  F.  M.,  307,  310,  313 
Piccolomini,  Marie,  20,  314 
Pierson,  Miss  Bertha,  254 
Pillet  M.  Leon,  337 
"Pinafore,"  outHne  of,  281-283 
Pini-Corsi,  Sig.,  91,  131,  239,  328 
Planche,  J.  R.,  30,  393 
Plangon,  Pol,  153 
Polloch,  Frank,  103 
Ponchielli,  Amilcare,  226 
Ponziani,  Sig.  Felice.  195 
Poole,  Miss,  383 
Power,  Mr.,  281 
Pozzoni,  Signora,  322 
Preisch,  Frank,  122 
Prevost,  M.,  251 
Prevot,  M.,  251 

"Prmce  Ananias,"  Herbert,  122 
"Princess  Ida,"  outline  of,  290-292 
"Proserpine,"  outline  of,  262-264 
Puccini,  Giacomo,  230 
Pyne,  Eliza,  13 
Pyne,  Louise,  13,  15 
Pyne-Harrison  troupe,  181 


410 


INDEX 


Q 

"Quo  Vadis,"  outline  of,  209-211 


R 

Redding,  J.  D.,  122 

Reeves,  Mr.,  13 

Regnal,  M.,  114 

Reiner,  Marcel,  131 

Reiss,  Albert,  131,  223,  238 

Renaud,  M.,  209,  242 

Reschiglian,  Vincenzo,  239 

Reyer,  E.,  242 

Richard,  Mile.,  259 

Richings-Bernard,  Mrs.,  74 

"Rienzi,"  outline  of,  332-337 

Righetti,  Mme.  Giorgi,  245 

"Rigoletto,"  outline  of,  310-313 

Rinaldini,  Sig.,  337 

"Robert  the  Devil,"  outline  of,  178- 

181 
Robinson,  Herr,  110 
Robinson,  Mr.,  348 
Roger,  M.,  184 
"Romani,"  32,  80,  82 
"Romeo  and  Juliet,"  outline  of,  117- 

118 
Romer,  Miss,  20,  383 
Ronconi,  Sig.,  7,  310 
Rosa,  Carl,  337 
Rossi,  Gaetano,  85,  248 
Rossi,  Giulio,  239 
Rossi,  Mile.,  245 
Rossini-Colbran,  Mme.,  248 
Rossini,  Gioacchini  A.,  245 
"Rothe  Gred,"  37 
Rothe.  Herr,  26 
Royal  Carl  Rosa  Opera  Company, 

128 
Royer,  M.,  74 
Rubini,  Sig..  32,  34 
Rubinstein,  Anton  G.,  254 
Rubinstein,  Herr,  388 
Ruysdael,  Basil,  223,  301 


Sabina,  265 

Sainte-Foy,  M.,  181 

Saint-Saens,  Camille,  257 

"Saint  Sebastian,"  outline  of,  66-68 

"Salome,"  Richard  Strauss,  274-277 


Sammarco,  Mario,  93,  122 
"Samson    and    Delila,"    outline    of, 

257-259 
Sanderson,  Miss  Sybil,  157 
Sannee,  Oscar,  301 
Santley,  Mr.,  337 
Saporitti,  Signora  Teresa,  195 
Saxe,  Mme.  Marie   187 
Scaria,  Herr,  377 
Schack,  Herr,  199 
Scheff,  Miss  Fritzi,  220 
Schefzky,  Frl.,  359 
Scheidemantel,  Herr,  220,  279 
Schickaneder,  Emanuel,  199,  200 
Schickaneder,  Herr,  Jr.,  199 
Schloss,  Herr,  340 
Schlosser,  Herr,  351,  359 
Schnitzer,  271 
Schnorr  von  Carolsfeld,  Herr  Ludwig, 

348 
Schnorr  von  Carolsfeld,  Mme.,  348 
Schroder-Devrient,  Mme.,  332,  337, 

340 
Schumann-Heink,  Mme.,  opinion  of 

"Elektra,"  278 
Scotti,  Sig.,  91,  232 
Scribe,  M.,  7,  10,  12,  33,  43,  76,  119, 

171,  175,  178,  184,  187,  319 
Seidler,  Frau  Carolme,  388 
Seipelt,  Herr,  397 
Sembrich,  Mme.,  220 
"Semiramide,"  outline  of,  248-250 
"Siegfried,"  outline  of,  369-373 
Siems,  Frl,  278 
"Sigurd,"  outline  of,  242-244 
Silvestre,  M.,  159,  259 
Sinclair,  Mr.,  248 
Sirandin,  M.,  136 
Smetana,  F.,  265 
Somma,  M.,  319 
Sonnleithner,  M.,  26 
Sontag,  Frl.,  74,  397 
Sparkes,  Lenora,  301 
Stagno,  Roberto,  147 
Stalport,  M.,  242 
Staudigl,  Mme.,  178 
Steffanone,  Signora,  316 
Stehle,  Frl.,  356 
Stehle,  Mme.,  328 
Steller,  Sig.,  322 
Sterbini,  M.,  245 
Sterling,  Miss  Agnes,  254 


INDEX 


411 


St.  Georges,  M.,  13,  20,  72,  96 
Stoddard,  Mr.,  254 
Stolz,  Mine.,  74 
Storace,  Signora,  191 
"Stradella,"  outline  of,  99-100 
Strauss,  Johann,  267 
Strauss,  Richard,  272 
Stretton,  Mr.,  20 
Stritt,  Herr.,  110 
Stumer,  Herr  Carl,  388 
Sucher,  Frau,  257 
Sugana,  Luigi,  91 
"Sulamith,"  89 
Sullivan,  Arthur,  281 
"Suzanne's     Secret,"     Wolf- Ferrari, 
outline  of,  89-90 


Tagliafico,  Sig.,  7,  171 

Taglioni,  Signora,  178 

Talazac,  M.,  257 

"Tales  of  Hofifmann,"  218-219 

Tamagno,  Sig.,  325 

Tamburini,  Sig.,  34,  70,  171 

"Tannhauser,"  outline  of,  340-344 

Targioni-Tozzetti,  Sig.,  147 

Tasken,  M.,  157 

Tchaikovsky,  M.  I.,  305 

Tchaikovsky,  P.  I.,  303 

Teal,  Jeannie,  147 

Temple,  Mr.  R.,  281,  288 

Temina,  Mme.,  232 

"Thais,"  Massenet,  166-167 

"The    Barber    of    Seville,"    Rossini, 

outline  of,  245-248 
"The   Bartered    Bride,"    outline   of, 

265-266 
"The  Bat,"  outline  of,  268-269 
"The   Bohemian   Girl,"    outline   of, 

20-23 
"The  Bohemians,"  230 
"The     Cricket     on     the     Hearth," 

outline  of,  112-113 
"The  Crown  Diamonds,"  outline  of, 

12-16 
"The  Daughter  of  the  Regiment," 

outline  of,  72-74 
"The  Duchess,"  122 
"The  Enchantress,"  Herbert,  122 
"The    Flying    Dutchman,"    outline 

of,  337-340 


"The    Fortune     TeUer,"     Herbert. 

122 
"The    Girl   of   the    Golden    West," 

outline  of,  238-241 
"The  Grand  Duchess  of  Gerolstein," 

outline  of,  212-214 
"The  Gypsy  Baron,"  outline  of,  271 
"The  Huguenots,"  outline  of,   171- 

174.  336 
"The  Idol's  Eye,"  Herbert,  122 
"The    Jewels    of    the     Madonna." 

outline  of,  92-95 
"The  Jewess,"  outline  of,  119-121 
"The  King  of  Lahore,"  151 
"The    Love    Spell."      "L'Elisir    d' 

Amore,"  80,  82 
"The  Magic  Flute."  outline  of.  199- 

203 
"The  Marriage  of  Figaro."  outline 

of,  191-195 
"The  Masked  Ball,"  outline  of.  319- 

322 
"The     Mastersingers."     outline   of. 

351-355 
"The     Merry     War,"     outline     of. 

267-268 
"The    Merry    Wives    of    Windsor," 

outline  of,  207-208 
"The  Mikado,"  outline  of,  292-294 
"The   Pipe   of   Desire,"    outline   of, 

61-62 
"The  Pirates  of  Penzance,"  outline 

of,  283-285 
"The    Postilion    of    Longjumeau," 

outline  of,  1-3 
"The  Prophet."  outline  of,  184-187 
"The  Queen  of  Sheba,"   outline  of, 

110-112 
"The  Queen's  Lace  Handkerchief," 

outline  of,  269-270 
"The  Red  Mill,"  122 
"The  Ring  of  the   Nibelung,"  out- 

Hne  of,  355-362 
"The     Robber     of     the     Abruzzi." 

"La  Caveme, "  7 
"The   Rose  of  Castile,"   outline  of, 

23-25 
"The  Sacrifice,"  outline  of,  62-63 
"The  Serenade,"  Herbert,  122 
"The  Singing  Girl,"  Herbert,  122 
"The  Star  of  the  North,"  outline  of, 

175-177 


412 


INDEX 


"The    Trumpeter    of    Sakkingen," 

outline  of,  204-206 
"The  Water  Carrier."    "Les  Deux 

Journees,"  59-60 
"The  White  Maid,"  43 
"The  Wizard  of  the  Nile,"    Herbert, 

122 
Thillon,  IVIme.  Anna,  13,  72 
Thomas,  Charles  A.,  295 
Thomas,    Theodore,    101,    107,   254; 

Orchestra,  131 
Thuille,  L.,  301 
Tichatschek,  Herr,  332,  340 
"Tiefland,"  outline  of,  4-6 
Toccani,  Mme.,  32 
"Tristan    imd    Isolde,"    outline    of, 

348-351 

U 

Ulrich,  Olive,  103 
linger,  Herr,  359 


Van  Cauteren,  Mme.,  220 

Vanloo,  M.,  134 

Van  Zanten,  Miss  Cornelia,  254 

Varesi,  M.,  313 

Vaucair,  Maurice,  103 

Venturini,  Emilio,  93 

Verdi,  Giuseppe,  307,  310 

"Versiegelt,"  outline  of,  41-42 

Vestris,  Mme.,  393 

Vestvali,  Signorina,  316 

Vianesi,  Sig.,  226 

Viardot-Garcia,  Mme.,  107,  184,  257 

Viardot,  Mme.  Pauline,  171 

"VitaNuova,"89 

Vittarelli,  Sig.,  245 

Viviani,  Sig.,  232 

Vogl,  Frau,  356 

Vogl,  Herr,  356,  359 

Von  Bulow.  Hans,  348,  351 

Von  Chezy,  Helmine,  397 

Vonder  Osten,  Frl.,  279 

Von  Griin-Sadler,  Frau,  359 

Von  Hoffmannsthal,  Herr,  278 

Von  MiiUer,  MUe.,  257 


Von  Reichenberg,  Herr,  359 
Von  Wolzogen,  Ernest,  272 

W 

Wachtel,  Herr,  3 

Wachter,  Herr,  332,  337,  340 

Waetz,  Herr,  74 

Wagner,  Frl.,  340 

Wagner,  Richard,  332;    influence  on 

Ponchielli,  229 
Wagner,  Siegfried,  view  of  "Hansel 

and  Gretel,"  129 
Wallace,  William  V.,  383 
Walter,  Edna,  131 
Waner,  Herr,  388 
Warney,  Edmond,  93 
Weber,  Carl  Maria  von,  388 
Weckerlin,  Frl.,  359 
Weil,  Oscar,  41 
Weinkoff,  Herr,  26 
"Werther,"  Massenet,  163-164 
Wette.  Adelheid,  128 
White,  Caroline,  93 
Whitney,  Mr.,  254 
Wickham,  Florence,  131 
Wiedemann,  Herr,  388 
"WiUiam  Tell,"  Rossini,  outline  of, 

251-253 
Willner,  112 

Winckelmann,  Herr,  377 
Witherspoon,  Herbert,  223,  301 
Wolf-Ferrari,  Ermanno,  sketch  of,  89 
Wust,  Frl.,  332 

Z 

Zamboni,  Sig.  Luigi,  245 

"Zampa,"  outline  of,  125-127 

Zangarini,  C,  93,  238 

Zelger,  Sig.,  7 

Zell,  M.,  267 

Zeppelin,  Alice,  209 

Zerr,  Mile.  Anna,  96 

Zilli,  Signora,  328 

Zola,  51 

Zottmayer,  Herr,  348 

Zucchi,  Mme.,  188 


At 


THE  LIBRARY 
UNIVERSITY  OF  CALIFORNIA 

Santa  Barbara 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW. 


Series  9482 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


A  A      000  134  947    i 


3  1205  00018  7565 


